{"id":7633,"date":"2016-07-04T22:04:11","date_gmt":"2016-07-05T05:04:11","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7633"},"modified":"2016-07-05T16:08:38","modified_gmt":"2016-07-05T23:08:38","slug":"monday-recommendation-john-hollenbeck","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/07\/monday-recommendation-john-hollenbeck\/","title":{"rendered":"Monday Recommendation: John Hollenbeck"},"content":{"rendered":"<p><strong>John Hollenbeck<\/strong> Claudia Quintet, <a href=\"https:\/\/www.amazon.com\/gp\/product\/B01DPLS9KI\/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&#038;tag=rifftidougram-20&#038;camp=1789&#038;creative=9325&#038;linkCode=as2&#038;creativeASIN=B01DPLS9KI&#038;linkId=c4836d4bb7fef68d3554bd718e52e47e\"target=\"_blank\">Super Petite<\/a> (Cuneiform)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/SuperPetite.jpg\" alt=\"SuperPetite\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-7634\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/SuperPetite.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/SuperPetite-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/SuperPetite-100x100.jpg 100w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/>Hollenbeck\u00e2\u20ac\u2122s little band has unity of thought, purpose and execution more often found in long-lived classical ensembles than in jazz. The difference, of course, is improvisation. Yet, Hollenbeck\u00e2\u20ac\u2122s skills as composer-arranger, leader and drummer are so finely honed that it is often a challenge to differentiate between his canny orchestration and all-out blowing. Listeners who let Claudia\u00e2\u20ac\u2122s music wash over them, pick them up and carry them along are likely to disregard the difference and find the immersion rewarding. \u00e2\u20ac\u0153Nightbreak,\u00e2\u20ac\u009d Hollenbeck\u00e2\u20ac\u2122s drastically slowed adaptation of the <a href=\"https:\/\/www.youtube.com\/watch?v=VjCNUoBbNaM\"target=\"_blank\">famous alto break<\/a> from Charlie Parker\u00e2\u20ac\u2122s 1946 \u00e2\u20ac\u0153A Night In Tunisia,\u00e2\u20ac\u009d opens the album.  So profound a transformation deserves the critical attention it\u00e2\u20ac\u2122s getting. Indeed, the entire album deserves it. Reed artist Chris Speed, accordionist Red Wierenga, vibraphonist Matt Moran and bassist Drew Gress are superb throughout. Hollenbeck\u00e2\u20ac\u2122s multicolored drumming and Speed\u00e2\u20ac\u2122s tenor saxophone soar on \u00e2\u20ac\u0153Philly.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>John Hollenbeck Claudia Quintet, Super Petite (Cuneiform) Hollenbeck\u00e2\u20ac\u2122s little band has unity of thought, purpose and execution more often found in long-lived classical ensembles than in jazz. The difference, of course, is improvisation. Yet, Hollenbeck\u00e2\u20ac\u2122s skills as composer-arranger, leader and drummer are so finely honed that it is often a challenge to differentiate between his [&hellip;]<\/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":[5],"tags":[],"class_list":{"0":"post-7633","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7633","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=7633"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7633\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7633"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7633"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7633"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}