PRESS
August 18 2009
Published in: Hartford Courant by
Richard Kamins
Eternal Interlude - John Hollenbeck Large Ensemble (Sunnyside) - John Hollenbeck is a very busy musician. He leads the Claudia Quintet, works and records with Meredith Monk and Bob Brookmeyer (among others) and has had works commissioned by the Bang on a Can Allstars, Ethos Percussion Group and the Painted Bride Art Center of Philadelphia.
“Eternal Interlude” is the second recording of his Large Ensemble, the first “A Blessing” released by OmniTone in 2005. Many of the same musicians appear on the new disk and the music has a similar expansive feel. Yet, there’s a deepening in the emotional content that is striking.
One hears the influences of Steve Reich in the pulse/rhythms of “Foreign One” (an abstraction of Thelonious Monk’s “Four In One”) and the title track. His studies with Bob Brookmeyer are evident in the way Hollenbeck builds a piece, the importance of the melody taking precedent over the solo (in most instances) and his writing for the sections is impeccable. The work of the rhythm section is uniformly excellent, with Kermit Driscoll’s bass used a pulse or for counterpoint and the vibes (either Matt Moran or John Ferrari) adding both percussive depth and melodic backbone. Theo Bleckman’s voice is often used as another instrument, and his airy sound blends well with the reeds. “The Cloud”, commissioned and originally recorded by the Bamberg Symphony Choir and Big Band, is a stunning piece. Opening with chimes and whistling, the melody moves to the flutes of Ben Kono and Dan Willis, flowing over the quiet hum of the reeds, voice and brass. Nothing is rushed and one must pay close attention to hear Bleckmann’s recitation in the middle of the 13-minute piece.
“Perseverance” has great power, from the rumbling saxophones (and tenor saxophonist Ellery Eskelin’s declamatory solo) to the leader’s propulsive drum work. The splash of the higher reeds, the interjections of the brass, and Driscoll’s mighty bass lines give way to Eskelin’s (or Tony Malaby) and Hollenbeck’s fiery dialogue; then the piece slows way down for 5 minutes for a contemplative clarinet solo. The drummer continues to work around his kit until everyone else drops out and Hollenbeck lets loose for a short time. When the band returns, there is power and subtlety, shifting dynamics, and a blazing finish.
There is much to absorb on “Eternal Interludes” and you should take your time. John Hollenbeck creates new worlds with his Large Ensemble and, while some of this music may sound familiar, it does not go where you may expect a Big Band to go. Listen to how the sections move with and against each other, check out the mallet work of Moran and Ferrari and the fine keyboard work from Gary Versace. The depth of the reeds, the brightness of the brass, the subtle work of Theo Bleckmann, all these ingredients and more make this CD stand out. In a year when there have been a number of excellent Big Band/large ensemble recordings released (Darcy James Argue’s Secret Society, Jentsch Large Group, Bob Florence Limited Edition, Mike Holober’s “Quake”), “Eternal Interludes” is a powerful and challenging addition.