by Dave Lynch
Releasing three quite noteworthy CDs in as many months, drummer/composer John Hollenbeck certainly made what one might describe as an "auspicious debut" as a leader. Just consider the range of styles covered in this burst of activity. No Images, Hollenbeck's initial recording from October 2001, is the most avant-garde of the three, with drums and saxophones squaring off in free jazz territory and trombones and drums accompanying the taped voice of Dr. Martin Luther King, Jr.; Quartet Lucy, hitting the street in January 2002, reflects Hollenbeck's attraction to the austere and spacious music of the ECM label. And The Claudia Quintet, released on the very same day as Quartet Lucy, is perhaps the best place to start investigating Hollenbeck's work as a bandleader, a recording of subtlety, beauty, and a fair measure of fire smoldering beneath its surface. Hollenbeck may have an avant streak as wide as the pond between Tonic and Bimhuis, but he's surely not one to avoid a groove. In the Claudia Quintet's drum chair, he often locks into a rhythm and gradually builds the intensity of his attack, taking his own sweet time to reach the dynamic peak in a piece of music. Hollenbeck also propels the music forward with a crisp and clean style that doesn't overwhelm his bandmates, including Chris Speed, the noted N.Y.C. reedman who tends to prefer subtle expressiveness over displays of high-volume bluster. On this debut CD by the band, Claudia pursues a cool after-hours chillout vibe much of the time, and the instrumentation should suggest what Hollenbeck is after: aside from Speed (contributing a bit of tenor sax in addition to clarinet), the quintet features vibraphonist Matt Moran, accordionist Ted Reichman, and ubiquitous upright bassist Drew Gress. ... Read More...