{"id":5213,"date":"2013-11-10T19:49:20","date_gmt":"2013-11-11T03:49:20","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5213"},"modified":"2013-11-11T15:48:18","modified_gmt":"2013-11-11T23:48:18","slug":"update-that-holman-documentary-project","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2013\/11\/update-that-holman-documentary-project\/","title":{"rendered":"Update: That Holman Documentary project"},"content":{"rendered":"

The producer of the Bill Holman documentary<\/a> was concerned that the Holman band\u00e2\u20ac\u2122s live performance of his Thelonious Monk arrangements would be lightly attended. Kathryn King and her crew were to film the concert, and she was hoping for enthusiastic response by a big crowd. As it turned out, she needn\u00e2\u20ac\u2122t have worried. Vitello\u00e2\u20ac\u2122s, a little club in the Studio City area of Los Angeles, was packed on Friday evening. The response was indeed enthusiastic, ending with a standing ovation answered by an encore. The latest edition of the band was in great form. Ms. King says that the documentary will include at least one complete performance from the evening.<\/p>\n

\"Bill<\/a><\/p>\n

The band included Holman veterans and an impressive batch of young newcomers, among them the rhythm section of pianist Max Haymer, bassist Alex Frank and Drummer Jake Reed. These were the horn sections:<\/p>\n

Trumpets: \u00e2\u20ac\u00a8Carl Saunders, Pete Disiena, Ron Stout, Bob Summers. <\/iframe><\/div>\n
Trombones:\u00e2\u20ac\u00a8 Jack Redmond, Scott Whitfield, Erik Hughes, Craig Gosnell. <\/iframe><\/div>\n
Saxes: \u00e2\u20ac\u00a8Bruce Babad, Billy Kerr, Doug Webb, Rob Hardt, Roger Neumann. <\/iframe><\/div>\n

There were superb improvised choruses throughout the evening, including those by Babad playing alto sax on \u00e2\u20ac\u0153Thelonious,\u00e2\u20ac\u009d Whitfield on \u00e2\u20ac\u0153Bye Ya,\u00e2\u20ac\u009d Summers with a gorgeous reading of the melody of \u00e2\u20ac\u0153Ruby My Dear, Stout and Webb in a number of solos. Winner of several awards for minimalist conducting, Holman often stood in front of the band with a half smile, head cocked as if he were hearing the music for the first time. He introduced his take on \u00e2\u20ac\u0153Brilliant Corners\u00e2\u20ac\u009d as \u00e2\u20ac\u0153the thorniest piece of the collection.\u00e2\u20ac\u009d An ensemble section that might have been written by Igor Stravinsky, had he been a jazz arranger, supported the claim. <\/p>\n

I spent a good chunk of Saturday interviewing Holman. Ms. King and director Gil Gilbert are planning interviews with a number of Holman associates and admirers. Already filmed are band members Babad, Stout and Whitfield, as well as Holman\u00e2\u20ac\u2122s fellow leader Gerald Wilson and the legendary producer\/engineer Bones Howe. Watch Rifftides<\/em> for reports on the progress of the documentary. <\/p>\n","protected":false},"excerpt":{"rendered":"

The producer of the Bill Holman documentary was concerned that the Holman band\u00e2\u20ac\u2122s live performance of his Thelonious Monk arrangements would be lightly attended. Kathryn King and her crew were to film the concert, and she was hoping for enthusiastic response by a big crowd. As it turned out, she needn\u00e2\u20ac\u2122t have worried. Vitello\u00e2\u20ac\u2122s, a […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-5213","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5213","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5213"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5213\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5213"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5213"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5213"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}