An Evening with John Hollenbeck, featuring music from Rainbow Jimmies

John Hollenbeck, Matt Moran and Todd Reynolds perform Gray Cottage Studies at The Whitney Museum.

John Hollenbeck and I used to roam the halls of the Eastman School of Music back in ’85, he in the jazz and percussion departments, me skipping Theory class to rehearse Charles Wuorinen and Elliot Carter.  Never did I think we’d end up collaborating together inside the wonderworld which is the work of Meredith Monk.  Add to that John’s Guggenheim award which produced Gray Cottage Studies, and it has become a continuing pleasure to work together.

Monday night at Le Poisson Rouge will be an evening of Hollenbeck, beginning with the Gray Cottage Studies, a series of ‘etudes’, as John refers to them, each of which concentrate on  particular string feature or technique, inspired by experiences at his artists colony residence.

Follow this link for full copy and to reserve your tickets. I fully expect this evening to sell out what with the sheer magnitude of the large-ensemble project, the Meredith Monk Tribute project, and the increasing interest in John Hollenbeck’s compositional work.  Here’s a little more about Rainbow Jimmies, the record we three will be performing live.

Rainbow Jimmies is largely devoted to Gray Cottage Studies, composed for Todd Reynolds. The seven studies, scored for violin with vibraphone and/or drumkit, were written by Hollenbeck while at the Blue Mountain Center arts retreat in the Adirondack Mountains. He credits “early morning canoe trips, the deer, the residents and staff” as inspirations.Reviewing Rainbow Jimmies in All About Jazz, Troy Collins wrote, “Hollenbeck’s compositions always bear the distinctive stamp of his singular style – an eclectic but cohesive amalgam of advanced jazz harmonies and post-minimalist rhythms bolstered by tuneful melodies and driving rock-like intensity. Revealing a keen ear for melody… These introspective variations reveal Reynolds’ lyrical virtuosity as he unfurls bittersweet cadences ranging from austere to soulful, interweaving with Moran’s scintillating accents and Hollenbeck’s subtle interjections.”

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