PRESS
May 28 2004
by
Jay Collins
Drummer/percussionist John Hollenbeck is an ambitious person. Not only does he play with a host of others like the Vanguard Orchestra (Thad Jones & Mel Lewis’ band), Meredith Monk, Bob Brookmeyer, Cuong Vu and others, he also leads several of his own groups. This wide variety of opportunities affects his music considerably, making its mark on ensembles like the Claudia Quintet, Quartet Lucy, his duo with vocalist Theo Bleckmann, and other collectives to which he contributes.
As for the Claudia Quintet specifically, a great deal of time has been spent by listeners, writers, etc., trying to accurately define The Claudia Quintet. The task is, however, for the most part, futile. Sure, the group sound and compositions are a unique combination—a dash of jazz, a smidgen of rock, some improv, a touch of non-western sources, or a little chamber. Ultimately, though, all that matters in the end is that this combination simply works. For those unaware of its membership, the group consists of Hollenbeck and bassist Drew Gress, vibraphonist Matt Moran, accordionist Ted Reichman and reedist Chris Speed. The five craftsmen forge a sound that shifts constantly in an unpredictable fashion, perhaps evoking a groove at one moment, soaring into the heights at another, exploring forlorn introspection the next or tackling a swirling sound collage of both prickly and boisterous terrains—sometimes using all of these elements within the context of one composition.
May 07 2004
Published in: Acoustonika by
Robert R. Calder
A blurb says this group’s inspiration is “electronica”, which at least affords one lead in trying to say what this quintet sounds like: a drummer, a vibist / percussionist, a clarinetist / saxophonist, a bassist, and an accordionist. They open with the drummer (John Hollenbeck, also the composer) sustaining an almost rock-mechanical beat, with which the vibes make free, while the squeezebox is applied to generate some ethereal sounds. It recurs to these after having its own little time as lead. It’s further allowed some unaccustomed dramatic atmospherics before the vibes enter, with a strong jazzman playing bass. The vibes come near to a jazz solo before the accordion completes the ensemble and they jam to a close.
“Opening” is the second track (Duke Ellington had an item called “The Opener” which usually turned up as the final one before the half-time interval). This thing is a play of textures very much on an electronic or Philip Glass model, and one does get the impression that this is really a composer’s band, like the Michael Nyman Band in England.