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   A Big Band Reaches for Bold Sounds
   ½ºÄð¹ÂÁ÷   2009-11-30   2174   0   0




By BEN RATLIFF

Published: December 1, 2009

Writing decent music a jazz big band is hard, and keeping the band working is harder. the bandleader and composer, maintaining the integrity of a group sound with a dozen or more players — and maintaining a core style with enough tooth and identity that it can reach beyond the closed circuit of jazz students — takes up a lot of the job. As a consequence, concertgoers don¡¯t usually expect a jazz big-band show to rearrange their heads.

ÀçÁî ºò¹êµå·Î½á »çȸ±âÁØ¿¡ ¸Â´Â ÁÁÀº À½¾ÇÀ» ¸¸µå´Â °ÍÀº ½±Áö ¾ÊÀ¸¸ç ¹êµå°¡ ÇÔ²² ÀÛ¾÷À» ÇØ ³ª°¡´Â °ÍÀº ´õ Èûµé´Ù. ¹êµå¸®´õ¿Í ÀÛ°îÀÚ¿¡°Ô 10¸íÀÌ ³Ñ´Â Ç÷¹À̾îµé°ú ±×·ì »ç¿îµåÀÇ ¾î¶² ¿Ï¼ºÀ» À¯ÁöÇϰųª ÇÙ½ÉÀûÀÎ ¾ÆÀ̵§Æ¼Æ¼¸¦ À¯ÁöÇÏ´Â °ÍÀº ÈξÀ ¸¹Àº ÀÏÀ» ÇÊ¿ä·Î ÇÑ´Ù. ¼øÂ÷ÀûÀ¸·Î À½¾Çȸ¿¡ ÀÚÁÖ°¡´Â »ç¶÷Àº Å« ±×µéÀÇ ¸Ó¸´¼ÓÀ» ÀçÁ¤¸³Çϴ°ÉÀ» º¸¿©ÁÖ´Â °ÍÀ» ±â´ëÇÏÁö ¾Ê´Â´Ù.

People get that big bands have been places of real aesthetic boldness. Count Basie, Duke Ellington, Bill Finegan, Bill Russo, Gil Evans, Bob Brookmeyer, Gerald Wilson, Muhal Richard Abrams, Maria Schneider: these were and are no slouches, and there are clear signs that a few younger composer-arrangers will join that list. Let¡¯s start with John Hollenbeck, whose 20-piece Large Ensemble played a superior show at Le Poisson Rouge in Greenwich Village Monday night. His music was playful, profound, attentive to the soloists¡¯ strengths and pretty much continuously imaginative — even though the band hadn¡¯t had a gig since March.

»ç¶÷µéÀº ºò ¹êµå°¡ ÁøÂ¥ ¿¹¼úÀÇ ´ë´ã¼º¿¡ ÀÚ¸®ÇÏ°í ÀÖ´Ù´Â °ÍÀ» Àؾú´Ù. Ä«¿îÆ® ¹è½Ã, µàÅ© ¾Ù¸µÅÏ, ºô ÆÄÀΰµ, ºô ·ç¼Ò, ±æ ¿¡¹Ý½º, ¹ä ºê·è¸¶À̾î, Á¦·²µå Àª½¼, ¹«ÇÒ ¸®Â÷µå ¾Öºê¶÷½º, ¸¶¸®¾Æ ½´³ªÀÌ´õ: À̵éÀº ²Ï ÀßÇÏ´Â »ç¶÷µéÀÌ¸ç ¸î¸î ÀþÀº ÀÛ°îÀÚµéÀÌ Âü¿©ÇØ ÀÖ´Ù´Â È®½ÇÇÑ »çÀÎÀÌ ÀÖ´Ù. Á¸ Ȧ¸¥º¤À¸·Î ½ÃÀÛÇغ¸¸é , ¿ù¿äÀÏ Àú³á ±×¸°À§Ä¡ ºô¸®Áö¿¡ ÀÖ´Â Le poisson Rouge¿¡¼­ 20¸íÀÇ Å« ¾Ó»óºí ¿¬ÁÖ¸¦ ÆîÃÆ´Ù. ±×ÀÇ À½¾ÇÀº ´Ùä·Î¿ì¸ç ±íÀ¸¸ç ²Ï Áö¼ÓÀûÀ¸·Î âÀÇÀûÀÌ´Ù. ºñ·Ï 3¿ù±îÁö ´Ü ÇѹøÀÇ ±ãÀ» °¡ÁöÁö ¾Ê¾ÒÀ½¿¡µµ ºÒ±¸ÇÏ°í..

Like most of the people on that list, Mr. Hollenbeck uses strategies in his music that don¡¯t necessarily come from the core of the jazz tradition and uses them well enough to extend that tradition. Not just bits of writing, but instrumentation, too: among the sources of sound in Monday¡¯s set were English horn, marimba, glockenspiel, crotales (small, tuned, bell-like sets of cymbals played with mallets), digital loop machine and smartphones.

Àú ¸®½ºÆ®¿¡ ÀÖ´Â »ç¶÷µéó·³ HollenbeckÀº ±×ÀÇ À½¾Ç¿¡¼­ ºÒÇÊ¿äÇÑ ÀüÅëÀûÀÎ ÀçÁîÀÇ ÇÙ½ÉÀûÀÎ ¿ä¼Òµé°ú ±×°ÍµéÀ» ÃæºÐÈ÷ È®ÀåÇÏ´Â Àü·«À» »ç¿ëÇÏ¿´´Ù. ÀÛ°îÇÏ´Â°Í»Ó ¾Æ´Ï¶ó ±â¾ÇÆí°î¿¡¼­µµ. ¸Õµ¥ÀÌÀÇ »ç¿îµåÀÇ Àç·áµéµµ À×±Û¸®½Ã È¥, ¸¶¸²¹Ù, ±Û·ÏÄ˽ºÆÄÀÌ¿¤, Å©·ÎÅ»Áî, ±×¸®°í µðÁöÅÐ ·çÇÁ¸Ó½Å°ú ½º¸¶Æ® ÆùÀ̾ú´Ù.

The concert drew from a new album, ¡°Eternal Interlude,¡± Mr. Hollenbeck¡¯s second record with the big band. (He spends more time in a smaller group, the Claudia Quintet, and his show at Le Poisson Rouge opened with two other ensembles he¡¯s been getting off the ground: a trio with the classical violinist Todd Reynolds and the vibraphonist Matt Moran, and Future Quest, a band dedicated to the repertory of Meredith Monk.) After its predecessor, ¡°A Blessing,¡± ¡°Eternal Interlude¡± represents a major step ward. It¡¯s richer, better developed and more aggressively orchestral; its strangeness isn¡¯t self-conscious. It¡¯s the sound of a composer who¡¯s really grown into himself.

Äܼ­Æ®´Â »õ·Î¿î ¾Ù¹ü HollenbeckÀÇ µÎ¹ø° ºò ¹êµå ¾Ù¹ü¡°Eternal Interlude¡±·ÎºÎÅÍ ²¨³»¾îÁ³´Ù. ±× ÀüÈÄ·Î ¡°A blessing¡±, ¡°Eternal Interlude¡± ´Â Å« ÇÑ°ÉÀ½À» ³ª¾Æ°¬´Ù. Å« ¹ßÀü°ú °ø°ÝÀûÀÎ ¿ÀÄɽºÆ®·²; ±×°ÍÀÇ ÀÌ»óÇÔÀº ÀÚÀǽÄÀÌ ¾Æ´Ï´Ù. ±×°ÍÀº Á¡Á¡ ´õ ¼ºÀåÇÏ°í ÀÖ´Â ÀÛ°îÀÚÀÇ »ç¿îµåÀÌ´Ù.

As a drummer Mr. Hollenbeck is contained and steadying. He doesn¡¯t swing much in this group, though there¡¯s so much else going on that¡¯s rhythmically interesting — rolling arpeggiated chords, tremelos, marches, fast-over-slow, cross-rhythms, hints of Steve Reich and gamelan and Indian hand drumming. But he probably got closest to jazz-as-we-know-it in ¡°eign One,¡± a kind of creative mistranslation of Thelonious Monk¡¯s ¡°Four in One.¡± It focused on and exploded small details of the original¡¯s frenetic theme, set it up verbatim over low unison horns, allowed a tenor saxophone solo to arise, cut back and th between glimpses of Monk and other agendas.

µå·¯¸Ó·Î½á Hollenbeck´Â ħÂøÇÏ°í ²ÙÁØÇÏ´Ù. ±×´Â ÀÌ ±×·ì¿¡¼­ ºñ·Ï ¾öû³­ ¸®µå¹ÌÄÃÇÑ °ü½ÉÀ» º¸ÀÓ¿¡µµ ºÒ±¸ÇÏ°í ½ºÀ®¸®µëÀ» ¸¹ÀÌ »ç¿ëÇÏ°í ÀÖÁö ¾Ê´Ù. ½ºÆ¼ºê ·¹ÀÌÄ¡³ª °¡¸á¶õÀ̳ª Àεð¾È Çϵåµå·¯¹Ö¿¡¼­ ÈùÆ®¸¦ ¾òÀº µíÇÑ ¿©·¯°¡Áö µå·³ ¿¬ÁÖ ½ºÅ¸ÀÏÀ» º¸¿©ÁØ´Ù. (Áß·«)

¡°Perseverance¡± — which, Mr. Hollenbeck said, he wrote toward the end of the presidential race when campaign-trail speeches and recriminations were in the air — was all conflict, bluster and queasiness: a steady gallop of rhythm, battling tenor-saxophone solos by Tony Malaby and Ellery Eskelin, moments of percussionless drift and unease with long notes from the vibraphone (played with bows against the edge of the keys), and finally an intricate, beautifully constructed drum solo.

¡°Àγ»·Â¡± – Hollenbeck Àº ¸»Çß´Ù. ±×´Â Àü¿îÀÌ °¨µµ´Â ´ëÅë·É ¼±°ÅÀÇ ¸·¹ÙÁö¿¡ ´ëÇÏ¿© ½è´Ù – ±×°ÍÀº ¸ð¼øÀ̸ç, ¶°µé½âÇÏ°í, ±î´Ù·Î¿ü´Ù. ²ÙÁØÇÑ ºü¸¥ ¼ÓµµÀÇ ¸®µë¿¡ Tony Malaby¿Í Ellery EskelinÀÇ Å×³Ê ¼½¼ÒÆù ¼Ö·Î¿Í ºñºê¶óÆù(½Ç·ÎÆù ·ùÀÇ ¾Ç±â)À¸·ÎºÎÅÍ ³ª¿À´Â Ÿ¾Ç¼Ò¸®°¡ ¾ø´Â ¼ø°£µéÀÇ ±ä ³ëÆ®µéÀÌ ¼­·Î °æÀïÇÑ´Ù. ±×¸®°í °á±¹¿¡ ¸ÚÁø µå·³ ¼Ö·Î°¡ ¸¸µé¾îÁø´Ù.

But the stunner, and the evening¡¯s most unquantifiable music, was the record¡¯s title piece, 20 minutes of high and wide ambition, full of eshadowings and echoings, the natural world and the digital world. Theo Bleckmann, singing high tones wordlessly, sometimes through a digital octave shifter and a sampler, helped establish a serene melody. The rhythm dropped out a few stretches as the piece moved along, once Mr. Bleckmann to build up a weave of vocal sounds and once Gary Versace to play a solo organ cadenza.

±×·¯³ª ´õ¿í ³î¶ó¿î °ÍÀº À̳¯ Àú³áÀÇ °¡Àå Á¤Ã¼¸¦ ¾Ë ¼ö ¾ø´Â À½¾ÇÀº À½¹ÝÀÇ Å¸ÀÌƲÀÎ 20ºÐ µ¿¾ÈÀÇ ÀÚ¿¬ÀÇ ¼¼°è¿Í µðÁöÅÐ ¼¼°è·Î °¡µæÇÑ °ÍÀ̾ú´Ù. Theo BleckmannÀº °¡»ç¾øÀÌ ³ôÀº ÅæÀ¸·Î ³ë·¡¸¦ ºÒ·¶°í ¶§¶§·Î µðÁöÅÐ ¿ÁŸºê½¬ÇÁÅÍ¿Í »ùÇ÷¯¸¦ ÅëÇÏ¿© ÀÜÀÜÇÑ ¸á·Îµð¸¦ ¸¸µé¾î°¬´Ù. ¸®µëÀÌ ¸î ¸î °¡Áö·Î »¸¾î³ª°¡°í °ð BleckmannÀº º¸Äà »ç¿îµåÀÇ Æĵµ¸¦ ½×¾Ò°í Gary Versace´Â ¿À¸£°£ Ä«µ§ÀÚ ¼Ö·Î¸¦ ¿¬ÁÖÇß´Ù.

Then the band rejoined the final section, first in a slow, pastoral ensemble passage then breaking off in parts to produce short, birdlike phrases. (Those who weren¡¯t playing took out their phones instead, activating the voice-recording function an as-yet unclear purpose.) Eventually, the phrases mashed together and became one bar-length phrase, repeated and aggressive, an unbroken steamroller; and as that abated, the phones, held up to the microphones, replayed the original bird-song phrases in a faint, disjointed echo, all other sound fading away. This is the kind of thing that could provoke laughter from an audience, but I don¡¯t recall any. It was too logical and beautiful to be funny.

±×¸®°í ¹êµå´Â ¸¶Áö¸· ¼½¼Ç¿¡ ÇÕ·ùÇß´Ù. óÀ½¿¡´Â õõÈ÷, ¾Ó»óºí ±¸°£À» ¿Ô´Ù°¬´Ù ÇÑ ÈÄ Àá±ñ ÈÞ½ÄÀ» ¸¸µç ÈÄ °æÄèÇÑ ÇÁ·¹ÀÌÁ ¸¸µé¾î³ª°¬´Ù. »ç½Ç»ó ÇÁ·¹ÀÌÁî´Â Á¡Á¡ Çϳª°¡ µÇ¾ú°í ÇϳªÀÇ ¹Ù ±æÀÌÀÇ ÇÁ·¹ÀÌÁî°¡ µÇ¾úÀ¸¸ç ¹Ýº¹µÇ°í °ø°ÝÀûÀÌ µÇ¾ú´Ù. ±×¸®°í Á¡Â÷ ´©±×·¯Áø ÈÄ ÆùÀ¸·Î ¸¶ÀÌÅ©·ÎÆù¿¡ ´ë°í ¿À¸®Áö³¯ »õ¼Ò¸®¸¦ Èê·È°í ¸Þ¾Æ¸®°¡ ¶³¾îÁ® ³ª°¬°í ¸ðµç »ç¿îµå°¡ ÆäÀÌµå ¾Æ¿ôµÇ¾ú´Ù. ÀÌ°ÍÀº ûÁßÀ¸·ÎºÎÅÍ È­³ª°Ô Çϰųª ¸»µµ¾ÈµÇ´Â °ÍÀÌ µÉ ¼ö ÀÖ´Â °ÍÀÏ ¼öµµ ÀÖÀ¸³ª ³ª´Â ¾Æ¹«°Íµµ ȸ»óÇÏÁö ¾Ê´Â´Ù. ±×°ÍÀº Áñ°Ì±â¿¡´Â ³Ê¹« ³í¸®ÀûÀÌ°í ¾Æ¸§´Ù¿ü´Ù.

       
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