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“With sure workmanship and untamed inquisitiveness, Boston-based guitarist Eric Hofbauer is no stranger to confronting unusual yet stimulating music. Examples include 2008’s uncharacteristic guitar duo The Lady of Khartoum with Garrison Fewell or the strikingAmerican solo series—American Vanity (2004), American Fear (2010) and American Grace(2013)—which crossed distinctive terrains of improvisation and covers of iconic pieces suchLouis Armstrong‘s “West End Blues,” Cindy Lauper’s “True Colors” and a raucous take on rock group Van Halen’s “Hot for Teacher.”
So with a new quintet and his imaginative proclivity it’s not a stretch for Hofbauer to set his sights on the music of two early 20th century composers with his Prehistoric Jazz volumes brought to fruition through a concert series and two recordings which illuminate the art of a jazz improvisation and artistic liberties of Russian composer Igor Stravinsky’s iconic 1913 ballet and orchestral concert masterpiece—Le Sacre du printemps (The Rite of Spring) and French composer Olivier Messiaen’s 1941 Quatuor pour la fin du temps (Quartet for the End of Time).” – Mark F. Turner, All About Jazz
“For most people “prehistoric jazz” means W.C. Handy or Buddy Bolden, yet Boston-based Eric Hofbauer puts a post-modern spin on the concept. Recognizing that advanced improvisation takes as much from the so-called classical tradition as jazz, he reworks two 20th-century musical milestones into separate programs for trumpeter Jerry Sabatini, clarinetist Todd Brunel, cellist Junko Fujiwara and drummer Curt Newton plus his own guitar. Each is handled differently.
The studied primitivism of Igor Stravinsky’s symphonic The Rite of Spring is miniaturized with each player standing in for a different orchestral section. The result is as rousing and romantic as the original score, but with openings for distinctive solos that rhythmically extend the composer’s ur-modernism. Originally composed for a chamber ensemble, Olivier Messiaen’s Quatuor pour la fin du temps is implemented with as much joyous ecstasy as the composer intended, but stripped of its overt Christian mysticism.” – Ken Waxman, The Whole Note