A groundbreaking and virtuosic trio of voice, saxophone and guitar, The Holly Martins is dedicated to exploring the boundaries of jazz and improvised music without a traditional rhythm section. Featuring Lorin Benedict on voice, Kasey Knudsen on alto saxophone, and Eric Vogler on guitar.
An improvising vocalist (scat singer, essentially) living in the Bay Area, Lorin Benedict attempts to introduce more structurally-involved elements into the field of vocal improvisation. Most of his work in this area is centered loosely in the jazz idiom.
Lorin joined the fold of musicians rather late in life, at the age of 31, after many years of listening to recordings and live performances, many of which involved members of his immediate family (all of whom are/were orchestral musicians in the western classical tradition). Lorin appears on a few commercially available recordings in projects led by others: with rapper Malik Ameer – Sanctified (Satori Recordings, 2003), Nothing Better To Do (Satori Recordings, 2006), and The Roseline (2007); with Steve Coleman and Five Elements- Lucidarium (Label Bleu, 2004); with John Schott- John Schott’s Typical Orchestra (Smash the State, 2005); with Howard Wiley- The Angola Project (2007); with the Mitch Marcus Quintet- Countdown 2 Meltdown (Porto Franco, 2010). The Edgetone release, No. No. Yes. No. (2010), by The Holly Martins is Lorin’s first recording with which he has shared creative control.
“…completely redefines the concept of scat singing…technically astounding, inevitably comic and ultimately impressive.” – Massimo Ricci, Touching Extremes
Kasey Knudsen is a San Francisco based saxophonist, composer and educator. Knudsen has been commissioned by the Jazzschool’s Emerging Artist Series to write and perform new work as well as Intersection For The Arts and the De Young Museum. She leads her own trio and sextet that focus on original music and arrangements; she co-leads The Schimscheimer Family Trio along with Bay area Drummer Jon Arkin and pianist Michael Coleman, and The Holly Martins.
Guitarist, bassist and composer Eric Vogler combines a broad interest in African-American and European lineages of art music with an inherent geekiness to produce a unique personal musical language. Eric studied as a youth with Los Angeles guitarists Pete Snell and G. G. Bobues. At UC Berkeley, encounters with pianist Bevan Manson and saxophonist Steve Coleman suggested further avenues for expressions of his interests through music. Besides the above influences, Eric’s forays into algorithmically generated music have created an ongoing dialogue in his understanding of musical form and structure.