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meredith monk & john hollenbeck

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John Hollenbeck Large Ensemble - All Can Work

All Can Work represents The John Hollenbeck Large Ensemble’s accumulation of years rehearsing, recording and performing together since its founding in 1998 — the definitive evolution of an exceptional ensemble that has developed a relationship akin to family (some members of which Hollenbeck has been playing with since high school and college). The album follows the band’s Grammy-nominated releases A Blessing (2005) and eternal interlude (2009), and pays tribute to the Large Ensemble’s late trumpet player Laurie Frink, a key force in the group and the jazz community. The album title is from an email exchange between Frink and Hollenbeck; the phrase epitomizes the flexible, optimistic resolve that is needed by everyone involved to create a record such as this one. The album also pays tribute to artists who have influenced Hollenbeck most throughout the years: Bob Brookmeyer, Kenny Wheeler, Billy Strayhorn, John Taylor, William Shakespeare, and Piet Mondrian.

After Laurie Frink’s passing, Hollenbeck read all of her emails and compiled them in chronological order, finding poetry and inspiration in her words. Acclaimed vocalist Theo Bleckmann brings Frink’s words to life in the lyrics of the title track “All Can Work." The composition of the piece is based on one of Frink's teaching exercises.

The album opens with “lud” — an alluring, hypnotic blend of triumphant horns and angular keys. After the title track comes “Elf”, inspired by composer Billy Strayhorn’s piece of the same name that was retitled and repurposed by Duke Ellington as “Isfahan” for the Far East Suite. Hollenbeck’s version is a near-inverse of the original, featuring soprano saxophonist Tony Malaby playing in an impressively high register. Pulsing horns open on “Heyoke”, Hollenbeck’s tribute to composer/trumpeter and flugelhorn player Kenny Wheeler and jazz pianist John Taylor, featuring Hollenbeck’s arrangements of Wheeler’s original. “This kiss” follows, capturing the spirit of Shakespeare’s “Romeo and Juliet” by creating a mood of sweet romance in the present with a foreboding dissonance that foreshadows the future. “From trees” shows Hollenbeck exploring Piet Mondrian’s study of trees in his early works, in particular his unfinished painting "Broadway Boogie-Woogie.” Hollenbeck fittingly incorporates a boogie-woogie feel into the piece while trying to evoke the evolution of the lines of a tree in Mondrian’s earlier paintings to the bold straight black lines in his last. “Long Swing Dream” embodies the first and (so far) only time a piece came to Hollenbeck in an actual dream. Horns pass around a continuous bass line, while Theo Bleckmann voices musings from Cary Grant about Grant's transformative experiences with LSD (the acronym of the song title) deepen the dream-like effect. The album finishes with “The Model” — Hollenbeck’s spirited arrangement of the Kraftwerk original.

#All Can Work #jazz #big band #new york #john hollenbeck #new amsterdam records #2018

Download Test Bank for Fundamentals of Human Resource Management 4th Edition by Noe Hollenbeck Gerhart

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John Hollenbeck - "Falling Men" from Shut Up And Dance - 2012 Grammy Award Nominee

#John Hollenbeck #jazz

Bestillingsverk til Jazzfest med Sissel Vera Pettersens musikk bearbeidet av John Hollenbeck og spilt av Trondheim Jazzorkester. Stort voldsomt og komplekst – en flott opplevelse, men må nok høre musikken flere ganger for å få helt tak på det.

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Sissel Vera Pettersen og John Hollenbeck

2016-05-04 Trondheim Jazzorkester med Sissel Vera Pettersen & John Hollenbeck – Jazzfest, Dokkhuset Bestillingsverk til Jazzfest med Sissel Vera Pettersens musikk bearbeidet av John Hollenbeck og spilt av Trondheim Jazzorkester.

#Dokkhuset #Jazzfest #John Hollenbeck #Sissel Vera Pettersen #Trondheim Jazzorkester

Workshop with John Hollenbeck’s Claudia Quintet

Surprisingly I passed by the Blue-Note and saw that it was unusually busy for that time, so I went inside and found out that the Claudia Quintet would give a workshop (my plan was anyway to see them this night at Cafe de Ruimte in Amsterdam).

I have to admit, I was neither too familiar with John Hollenbeck, nor with the band, so it was the perfect chance to get to know their music.

John Hollenbeck was nominated for a grammy and won several awards for his composing-skills, recorded some interesting albums with large ensembles & he is also teaching at the Jazz Institut Berlin.

In the beginning of the workshop he made very clear that this is a unique chance to get an insight in his muisc. He invited the students to join the band on stage, sitting next to the drummer, having a look on the score aswell and change positions to have several different perception of the accoustic sound.

First of all this turned out to be awesome, as they were using a very unique setup. Vibraphone, Upright-bass, drums, accordeon and clarinet/tenor. Having the chance to sit closer to the clarinet and accordeon would balance the sound.

Another thing that hit me immidiately was the way of John’s composing. He’d make a whole story with just a little melody. So inspiring to see, how he would work with orchestration and just simple tools, slow melodies.

The songs are all really compact. If there is no space for solos, then it doesnt have to be, also the solos were really closly played to, what the song is about.

Also the different concepts of the songs were interesting! One song didnt even have a sheet, but more a text-scheme of the form....which was quite intense...