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  • Matthew Golombisky's Tomorrow Music Orchestra - Gustav 29 Hanna Concerto (release trailer)

    216 views 3 years ago
    Matthew Golombisky's Tomorrow Music Orchestra - Gustav 29 Hanna Concerto featuring cello soloist & improviser Helen Gillet.

    Out on ears&eyes Records Jan 22 2016:
    https://www.earsandeyesreco...
    https://www.earsandeyesreco......

    https://www.tomorrowmusicor......

    https://www.matthewgolombis...
    https://www.helengillet.com

    This is an 11+ minute track (divided into two movements) displays a well-rounded dose of what Tomorrow Music Orchestra (TMO) has to offer in addition to featuring Belgium/New Orleans-based cellist Helen Gillet (who was recently featured alongside Ken Vandermark's Okka Fest '15).

    TMO will perform live for the first time in over six years in Chicago at Constellation on January 22. Leader, Matthew Golombisky, who currently lives in Buenos Aires with his family will be visiting to make the event even more special. (Gillet will NOT be performing at this show; guitarist Dave Miller will take her place)

    Birthed in New Orleans in 2004 and raised in Chicago after Hurricane Katrina swept through New Orleans in 2005, Golombisky relocated and reinvigorated his desire to compose large works for a mixed chamber ensemble using professional, creative musicians in the classical, jazz and rock scenes.

    Most recently, Golombisky composed and TMO performed & recorded the music for Australian singer/songwriter and ex-Chicagoan, Via Tania on her Narooma release, Via Tania and the Tomorrow Music Orchestra.

    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) Show less
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