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.
As for their recordings, the group’s debut album was a great success and demonstrated the depth of Hollenbeck’s vision for the ensemble. I, Claudia builds on a similar approach, offering Hollenbeck’s unique hypothesis over the course of eight tracks that consider the range of influences noted above.
The program itself begins with “Just Like Him”, as Hollenbeck initiates the groove that drives the composition, a warm venture that features the counterpoint of Speed’s mournful clarinet and Reichman’s accordion as Gress follows Hollenbeck’s lead. Moran’s vibes are the drawing point here, as they glisten by providing waves of sound that underpin the ensemble’s journey. Along similar lines is “Misty Hymen”, which demonstrates that Hollenbeck is more than just a timekeeper, with his impressive drum technique ultimately inspiring Speed’s tenor flights and one of Reichman’s more riveting moments.
On a different plane, “Opening” offers detached notions of beauty that alternate between spacious scrapings and sound washes juxtaposed against a scattered rhythmic spree driven by Reichman and Gress. A similar detached mood revolves on “. . . can you get through this life with a good heart”, with its striking, stark lines that ultimately heat up in the end thanks to a luscious clarinet/vibes melody.
As for the remainder of the tracks, Moran’s vibes take the rhythmic lead on “Arabic” with Speed’s clarinet soaring over an interactive group improv that cools down at its conclusion. A similar otherworldly feel draws one in on “Adowa (for gra)”, with Speed’s tenor setting the vamp for this African-influenced track where Moran’s vibes, especially in the latter half, are glorious. The group parts with a typically bi-polar exploration on “couch”. What begins as a heavy, dubbish vamp drifts into foreboding territory as a vibes/tenor duet signals a drift off into a moody reverie.
Hollenbeck has repeated the success of the Quintet’s debut with I, Claudia. Hopefully, this band will continue to work together as an outlet for Hollenbeck’s extremely active and creative mind.