John Hollenbeck: John Hollenbeck: Songs I Like a Lot

John Kelman By

Sign in to view read count
John Hollenbeck: John Hollenbeck: Songs I Like a Lot It's hard to resist, at the very least, looking at an album with as honest and unassuming a title as Songs I Like a Lot; but it's even harder to resist when it turns out that the instigator is John Hollenbeck, founder of and primary composer for Claudia Quintet—the chamber jazz ensemble which has, over the course of six albums in nine years, completely defied definition and categorization, beyond combining improvisational prowess and the ability to subtly interpret through-composed music. When Hollenbeck releases a recording under his own name, it's generally in a larger-scale environment, and Songs I Like a Lot is no different, a collaboration with the 16-piece Frankfurt Radio Big Band. But what makes the album different than any that have come before is that, with the exception of one track, this is a collection of cover songs that cover a broad range of sources, from Jimmy Webb to Imogen Heap; from Freddie Mercury and Queen to traditional folk music; and from maverick Japanese composer Nobukazu Takemura to renegade free jazz progenitor Ornette Coleman. It should come as no surprise to anyone familiar with Hollenbeck's unshackled proclivities.

It should also come as no surprise that Hollenbeck's intent was to interpret these songs with singers. Given the breadth of material, it's no surprise that Theo Bleckmann is one of two singers recruited for Songs I Like a Lot. Something of a renegade himself, Bleckmann is no stranger to Hollenbeck's recordings, having collaborated regularly, from 2005's A Blessing (OmniTone) through to Claudia Quintet's recent What is Beautiful? (Cuneiform, 2012). Hollenbeck also enlists another familiar face in Gary Versace, a keyboardist who, from guitarist John Scofield and composer/arranger Maria Schneider, to Claudia Quintet—with whom he guested on Royal Toast (Cuneiform, 2010)—has demonstrated the kind of versatility Hollenbeck's music doesn't just ask, it demands.

What is, perhaps, a bigger surprise is the appearance of singer Kate McGarry—though, with Versace a regular collaborator since her third record as a leader, The Target (Palmetto, 2007), there's already a clear connection to the musical circles these players inhabit. McGarry is, in fact, the first voice heard on Hollenbeck's expansive version of Jimmy Webb's "Wichita Lineman," and his instincts are justified from the first note she sings, combining pure and reverent delivery with understated interpretation. It's a song that's been covered many times but never so cinematically. McGarry shares the tune with Bleckmann, and if the two are ideal on their own, it's how their timbres complement each other—even though they rarely sing together—that further makes them such astute choices. As for his arrangement, Hollenbeck's skill at taking small but defining motifs from an original song and use them as starting points for broader orchestrations is what makes this set of eight tunes so successful.

If "Wichita Lineman" is cinematic, then Hollenbeck's arrangement of Webb's "The Moon is a Harsh Mistress" is positively IMAX. Opening intimately, with McGarry's voice and Versace's piano alone together, a layer of flutes slowly insinuates itself into the arrangement, followed by a minimalist Steve Reichian pulse—from Hollenbeck, on marimba, and guitarist Martin Scales—that soon becomes an undercurrent over which the episodic piece builds, over fourteen minutes, to a breathtaking climax of swirling melodies that, despite the seven-second gap between them, seems to run conceptually into an equally unfettered arrangement of "Man of Constant Sorrow," made popular in the new millennium by the Coen Brothers' popular film Oh Brother, Where Art Thou? (2000). The traditional folk tune's tempestuous intro—all low horns and tumultuous drums—seems to make perfect sequential sense, even as it leads to a second section of strummed acoustic guitar and Bleckmann's delivery of the familiar tune: the call to McGarry's response. It is, however, more Midwestern, perhaps, than Deep South, especially when saxophonist Julian Arguelles' tenor solo soars over Scale's rapid strumming to recall the spirit of guitarist Pat Metheny's classic 80/81 (ECM, 1980).

There's plenty more, from Hollenbeck's rubato arrangement of Ornette Coleman's "All My Life"—laying bare the alto saxophonist's inherent lyricism, despite coming from the more extreme Science Fiction (Columbia, 1971)—to a version of Queen's "Bicycle," which is clever without being coy, and Hollenbeck's sole compositional contribution, "Chapel Files," closing the album on a gentler note. These may be songs Hollenbeck likes, but it's how he hears them and, subsequently, arrange them for this large ensemble that's indicative of an unerring ability to find good music in any corner, nook or cranny, turning it into something personal without ever losing what made it so good in the first place.

Track Listing: Wichita Lineman; Canvas; The Moon's a Harsh Mistress; Man of Constant Sorrow; All My Life; Bicycle Race; FallsLake; Chapel Falls.

Personnel: John Hollenbeck: arranger, conductor, mallet percussion, bicycle; Theo Bleckmann: voice; Kate McGarry: voice; Gary Versace: piano. Organ; Heinz-Dieter Sauerborn: alto and soprano saxophones, flute; Oliver Leicht: alto saxophone, clarinet, alto clarinet, flute; Steffan Weber: tenor and soprano saxophone, flute; Julian Argüelles: tenor and soprano saxophone, flute; Rainer Heute: bass saxophone, bass clarinet; Frabk Wellert: trumpet, flugelhorn; Thomas Vogel: trumpet, flugelhorn; Martin Auer: trumpet, flugelhorn; Axel Schlosser: trumpet, flugelhorn; Günter Bollman: trombone; Peter Feil: trombone; Christian Jaksjø: trombone, tenor horn; Manfred Honetschläger: bass trombone; Maretin Scales: guitar; Thomas Heidepriem: bass; Jean Paul Höchstädter: drums.

Title: John Hollenbeck: Songs I Like a Lot | Year Released: 2013 | Record Label: Sunnyside Records


comments powered by Disqus

More Articles

Read Motel Shot: Expanded Edition Extended Analysis Motel Shot: Expanded Edition
by Doug Collette
Published: July 16, 2017
Read Sgt. Pepper’s Lonely Hearts Club Band 50th Anniversary Super Deluxe  Edition Extended Analysis Sgt. Pepper’s Lonely Hearts Club Band 50th...
by Doug Collette
Published: May 27, 2017
Read Grateful Dead: Cornell '77 Extended Analysis Grateful Dead: Cornell '77
by Doug Collette
Published: May 6, 2017
Read "Garcia Live Volume Seven: Sophie's, Palo Alto, November 8, 1976" Extended Analysis Garcia Live Volume Seven: Sophie's, Palo Alto,...
by Doug Collette
Published: September 4, 2016
Read "Phish: St. Louis '93" Extended Analysis Phish: St. Louis '93
by Doug Collette
Published: April 1, 2017
Read "Various Artists: Yugoslavian Space Program" Extended Analysis Various Artists: Yugoslavian Space Program
by Nenad Georgievski
Published: October 29, 2016
Read "Grateful Dead: Cornell '77" Extended Analysis Grateful Dead: Cornell '77
by Doug Collette
Published: May 6, 2017
Read "Wingfield Reuter Stavi Sirkis: The Stone House" Extended Analysis Wingfield Reuter Stavi Sirkis: The Stone House
by John Kelman
Published: March 4, 2017
Read "Chicago II (Steven Wilson Remix)" Extended Analysis Chicago II (Steven Wilson Remix)
by John Kelman
Published: February 12, 2017

Support All About Jazz: MAKE A PURCHASE  

Support our sponsor

Upgrade Today!

Musician? Boost your visibility at All About Jazz and drive traffic to your website with our Premium Profile service.