Gustav 29 Hanna Concerto feat. Helen Gillet
Label: ears&eyes Records
Helen Gillet - cello & featured soloist Matthew Golombisky - composer/conductor Quin Kirchner - drums & melodica James Davis - trumpet & flugelhorn Caroline Davis - alto saxophone Pablo Chin - clarinet Douglas Johnson - contrabass Lilianna Wosko - cello Thad Franklin - trumpet Katie Wiegman - vibraphone Natalie Szabo - clarinet Jennifer Swanson - flute Hanna Mathey - viola
Matthew Golombisky's Tomorrow Music Orchestra "Gustav 29 Hanna Concerto" (ee: 16-o49) is an 11+ minute concerto featuring mixed chamber orchestra featuring soloist/improviser cellist, Helen Gillet (Belgium/New Orleans) inspired by hurricanes Katrina, Gustav & Hanna composed and conducted by Golombisky. Digital-Only Release: January 22nd 2016 (which included a live performance: Constellation, Chicago) credits released January 22, 2016 Story: The Gustav 29 Hanna Concerto combines the experiences of Helen Gillet and Golombisky’s encounter with Hurricane Katrina in New Orleans (where they met and lived). Though this piece was composed and recorded three years later, it came together during a time when much of the southern USA and Caribbean was being battered by Hurricanes Gustav and Hanna in summer 2008. Golombisky wanted to embody both his struggle leaving his home in NOLA and starting over in Chicago, while Gillet was more persistent, and moved back to NOLA and continuing to dominate the creative music scene that took such a hit after Katrina. The music, its movements and the video trailer (directed and filmed by Golombisky) are a reflection of how water and just the right amount of change in nature can be beautiful and/or extremely dangerous and vulgar. On a whole, Matthew Golombisky’s Tomorrow Music Orchestra is an outlet for exploring the many colors that come with having a large mixed ensemble with some of the most renown musicians in the Chicago area in the classical, jazz and rock worlds and later, as Golombisky traveled and lived in upstate New York, the Bay Area, California and now Buenos Aires, Argentina, he collected an even more diverse collection of collaborators as well as influences. Though equally known for his acoustic and electric bass work in the New Orleans, Chicago, upstate New York, Bay Area and Buenos Aires creative music scenes (ie. Zing!, Pedway, Quin Kirchner, Lucky 7s, Animal Pants, Quintopus, Cuentos, etc), his undergraduate studies are a reflection. But in graduate school, a larger picture was a hand where he studied "classical" composition at the University of New Orleans (and then finishing at Northwestern after Katrina). TMO combines several of Golombisky's important influences, such as twentieth-century classical, art music, free jazz, odd- metered grooves, noise clouds, political statements, and general rocking out. The result: beautiful melodic passages that run alongside freak-out moments and are followed by flashes of collective improvisation, all happening in the blink of an eye. The musicians are a mixed bag in the best sense and with them, Golombisky is able to "paint" highly involved works normally reserved for symphony orchestras or big bands, but in this example, both on one stage. “In his thoughtfully crafted written passages, Golombisky employs this large palette with unusual care, mixing the colors sparingly and with a painterly attention to shadow and light, but individual voices carry through even during full-group improvisations.” - Neil Tesser (Chicago Reader) Golombisky tied several elements of enduring hurricanes together into one single piece that represents beauty, chaos, confusion, and what’s left thereafter such destruction to piece back together in this “improvised concerto”. The piece was also first performed live on-air for Chicago's WNUR 89.3FM Airplay show on Golombisky’s 29th birthday, hence the name Gustav 29 Hanna Concerto.