Mike Holober Balancing Act

Don't Let Go

“Don’t Let Go” is a Chamber Music America New Jazz Works commission for Mike Holober & Balancing Act.  This CD-length project is structured as a song-cycle in the tradition of Robert Schumann, Samuel Barber, and Ralph Vaughn-Williams. “Don’t Let Go”explores the nuances and complexities of the concept of “hope” in the context of current social, political, and environmental realities.

The premier performances of “Don’t Let Go” will feature:  
Jo Lawry – voice  
Marvin Stamm – trumpet  
Dick Oatts – reeds  
Jason Rigby – reeds  
Mark Patterson – trombone  
Mike Holober – piano/composer  
John Hébert – bass  
Gerald Cleaver – drums

THURSDAY JUNE 14, 2018
8:00 pm
Leonard Nimoy Thalia at Peter Norton Symphony Space

2537 Broadway at 95th Street


https://www.symphonyspace.org/event/10108/Music/mike-holober-balancing-act-dont-let-go

SUNDAY JUNE 17, 2018
3:00 pm
Union Arts Center
2 Union St., Sparkill NY
https://uacny.com/performances/

Balancing Act

BALANCING ACT ALL LYRICS (PDF)
by Mike Holober 2015

Over the past decade-plus, pianist and composer Mike Holober has become one of the jazz world’s busiest and most renowned big band mainstays—as a composer, arranger and conductor. Now, he returns to a small group format and presents his first CD in six years—Balancing Act, released on Palmetto Records (2015). The recording features a newly assembled stellar octet, also called Balancing Act, comprised of vocalist Kate McGarry, saxophonists Jason Rigby and Dick Oatts, trumpeter Marvin Stamm, trombonist Mark Patterson, bassist John Hébert and drummer Brian Blade—all long-time associates of Holober’s who have assisted him with other projects over the years but never have played together as a unit.

Balancing Act speaks to Holober’s creative examination of contrasting elements and ideas.  The album mixes both new and older songs from Holober, plus two covers from outside the jazz canon and an original contribution from Rigby. Holober’s five original compositions continue an exemplary musical journey in which physical and emotional landscapes provide inspiration and self-awareness—not surprising, considering his ardent appreciation of the natural world gained from experiences as an outdoorsman and backcountry guide. 

The “balancing act” inherent in the recording also refers to Holober’s musical intentions here. Although several of the songs on the album contain lyrics—three of his originals (the opening “Book of Sighs,” nine-minute-long centerpiece “Grace at Sea” and closing “When There Were Trains,”), as well as Billy Joel’s “Lullabye (Goodnight, My Angel)” and the Jerry Ragavoy-Bert Berns classic “Piece of My Heart,” immortalized by Janis Joplin—Balancing Act will not be heard as a singer’s showcase. Instead, Holober effectively employs McGarry (known also for her work with Grammy nominees Fred Hersch and John Hollenbeck) as another frontline instrument: McGarry actually appears on all eight tracks of Balancing Act, and is most often heard singing wordless notes. 

After focusing on big band work for so long, Balancing Act is meant to satisfy Holober’s urge to lead a smaller group again and to make a completely personal statement, where the fruits of the collective are matched with band leadership and personal artistic goals.

"I had finished a couple of concerts with a lot of writing for different orchestras—overlapping projects in Europe, actually, with the HR and WDR big bands—and felt the urge to start composing for a smaller group and paring things down,” Holober remarked. “I began to write lyrics for some of my new compositions with Kate in mind. The lyrics are a mix of autobiography and fantasy. I thought the idea of a book listing the things that make you sigh was an interesting conceit. ‘Grace’ is a sailboat and a metaphor for a new adventure, inward and outward. Images from my hiking trips inspired the lyrics of ‘Canyon,’ while memories from summers long past return in ‘When There Were Trains.’"

Holober’s long and fruitful relationships with the musicians on Balancing Act give them strong ownership in all of the performances. Solos on the eight tracks seem part of the writing, elements that arise organically from the song structures and reflect harmonic invention rather than simple spaces to blow over. Rigby, in whose quartet Holober has played for the past seven years, tangles and meshes with Patterson—he’s been playing with the pianist for over thirty years—on “Book of Sighs” and again on “Grace at Sea,” while Rigby and Holober step through tricky syncopations before Blade boils over on “Idris,” Rigby’s noir-ish homage to the late drummer and bandleader Idris Muhammed. 

Stamm’s trumpet lines find the nooks and crannies in the melody of “Canyon” before giving way to Oatts on alto sax with the rhythm section propelling the music forward behind Hébert’s pumping bass lines. Throughout, Holober’s piano work provides credence to the idea that his playing is a greatly under-appreciated aspect of his talents—he’s got over sixty sideman credits on recordings led by the likes of Nick Brignola, Pete McCann, Tim Ries, Dave Pietro, Pete McGuinness, Jason Rigby and Charles Pillow.