Foreign One – commissioned by Scottish National Jazz Orchestra and is dedicated to composer Thelonious Monk and based on his composition “Four in One.”
eternal interlude – commissioned by Gotham Wind Symphony and Sigi Feigl.
Guarana – commissioned by University of Northern Colorado Jazz Ensemble.
The Cloud – commissioned by Bamberg Symphony Choir and Big Band.
Perseverance – commissioned by Orquestra Jazz de Matosinhos.
Ben Kono flute, sop/alto sax, whistling (4)
Jeremy Viner clarinet/tenor sax
Tony Malaby ten/sop sax
Dan Willis ten/sop sax, flute, Eh., whistling (4)
Bohdan Hilash cl., bass/contra-alt cl., whistling (4)
Ellery Eskelin tenor saxophone (5, 6)
Rob Hudson trombone, whistling (4)
Mike Christianson trombone, whistling (4)
Jacob Garchik trombone, thn. (2), whistling (4)
Alan Ferber trombone
Tony Kadleck trumpet, flugelhorn
Jon Owens trumpet, flugelhorn, whistling (4)
Dave Ballou trumpet, flugelhorn
Laurie Frink trumpet, flugelhorn
Kermit Driscoll acoustic/electric bass
Gary Versace piano, organ, keyboard
Matt Moran mallet percussion (1, 3, 4)
John Ferrari mallet percussion (2, 5, 6)
John Hollenbeck drums, comp., whistling (4)
Theo Bleckmann voice, whistling (4)
JC Sanford conductor
“Calling the drummer-composer John Hollenbeck a jazz musician is like referring to Thom Yorke as a mere rock and roll crooner. It seems a rather narrow description for someone with such prodigious talents and ambitions. Mr. Hollenbeck writes pieces for his large ensemble that are almost symphonic. They share a lot with the more ecstatic strains of contemporary classic music, the kind practiced by John Adams and the drummer’s longtime employer, Meredith Monk. And yet if David Binney is a jazz musician then so is Mr. Hollenbeck. They are both reinvigorating the art form with influences from the broader culture. Jazz needs more of this.” – Devin Leonard, The New York Observer
“The tour de force 19-minute title track unfolds like a shimmering vernacular symphony, merging detailed cornice work with large architectural blocks. A long meditative, pastoral episode is ornamented with wind and keyboard flurries that remind me of similar squalls in Benjamin Britten’s “Four Sea Interludes.” The motifs expand, building forcefully and logically into a steady rhythm with deft bits of controlled improvisation integrated into the weave.” – Mark Stryker, Detroit Free Press