The opening title tune on the John Hollenbeck Larger Ensemble's A Blessing brings Maria Schneider's masterpiece Concert in the Garden to mind, with its fluid momentum and swirling harmonies. The sixteen-minute song, as well as the rest of the tunes on the disc, are Hollenbeck originals; and while the Schneider influence is apparentboth Schneider and Hollenbeck bear the imprint of Bob Brookmeyera good deal of originality and idiosyncratic daring comes into play on A Blessing.
Drummer/composer Hollenbeck makes remarkable use of a remarkable voice (Theo Bleckmann), both verbal and non-verbal, similar to Maria Schneider's use of Luciana Souza's soaring vocals on Concert in the Garden and Dave Douglas' inclusion of Tom Waits' grumbling, growling, mumbled undercurrent on his Witness (Bluebird, 2001). Add some unusual timbresa bowed vibraphone, a sound sort of like a rung bell, slurred through an electronic filtering device; and English horn.
The "is it jazz?" question can come into play. This is a true ensemble outing, without any particular solos standing out. Rich and varied colors, unusual rhythms, and strong compositionsa very prickly and abstract sound on the twelve-minute "Abstinence," for examplemake for a very confident, forward-looking musical vision. Hollenbeck uses some familiar names from the Maria Schneider Orchestra: trumpeters Laurie Frink and Tony Kadleck, and pianist Gary Versace (who played accordion on Concert in the Garden); but he uses less a pastel approach, employing brasher, sharper-edged colorations and denser textures.
Track Listing: A Blessing, Folkmoot, RAM, Weiji, Abstinence, April in Reggae, The Music of Life
Personnel: woodwinds: Bob Kono, Chris Speed, Tom Christiansen, Dan Willis, Alan Won; trombones: Rob Hudson, KurtisPivert, Jacob Garchik, Alan Ferber; trumpets: Laurie Frink, Jon Owens, Tony Kadleck, Dave Ballou; bass: Kernit Driscoll; drums: John Hollenbeck; piano: Gary Versace; mallets: Matt Moran
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.