Matthew Golombisky’s Tomorrow Music Orchestra Gustav 29 Hanna Concerto (ee: 16-o49) 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

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Matthew Golombisky’s
Tomorrow Music Orchestra
Gustav 29 Hanna Concerto (ee: 16-o49)
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 includes live performance: Chicago)
Pre-Orders: January 8th 2016 (with $1 limited pricing for two weeks)

Quick Pitch Points:

  • 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)


  • Release promo video trailer HERE (available for exclusive release on your site; inquire)


  • 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 Tanis and the Tomorrow Music Orchestra. Here’s a behind the scenes video/making-of, including Golombisky and producer Charles Rumback.
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) (full review)


One productive result of Katrina was the formation of 7-piece group led by Chicago and New Orleans trombonists Jeb Bishop and Jeff Albert, which included Jason Adasiewicz, Josh Berman, Keefe Jackson, Kirchner and Golombisky. 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.
(more general information and background on TMO below)
Recorded Personnel (select bios below):



  • “…the result is quite the aural and visual amusement, simultaneously artistic and intriguing. One minute they’re pumping out a big-band sound before a completely natural-sounding Afrobeat seamlessly shakes its way into the ensemble. A playful yet serious blending of genres makes TMO an un-intimidating way to expose oneself to classical and traditional jazz blended with elements of rock. A word of caution: just sit back and enjoy it — because if you spend too much time trying to identify all the sounds, you’ll just end up lost in the richness of it all.”  – Jen Fischer (ChicagoInnerview)


  • “…tracks twist and churn in unpredictable ways, giving each beat its own particular, peculiar and persuasive personality.” Nooga


  • “…many aural colors and soundscapes, exhilarating and unique.” Ghettoblaster


Concerning the recent Via Tania and the Tomorrow Music Orchestra release:

  • “…a cross between the baroque indie rock of Owen Pallett with the jazzy feel of Norah Jones… it is smokin’ and beautiful, and the whole wide world deserves to hear music that is this fragile and moving.” Invisible Ink
  • “…orchestral musicians who provide her compositions with both a substantial amount of sonic heft and a retro sensibility that she seems to enjoy tweaking in a good-natured, Bjork-like way.” Entertainment Weekly
  • “…individual tracks functioning more like movements in a sizeable art piece… the album balances on the edge of the heavy and ethereal… an emotionally resonant work of understated beauty.” Exclaim
  • “…full of lush string arrangements, instantly drawing comparisons to Björk’s florid chamber-pop… lovingly crafted by many talented hands, full of clever figures and arty arrangements…” 4zzzFM
  • “…a sound that feels both grand in scale… ambient string arrangements make for a beautiful, bluesy tune.” Culture Collide
  • “…precocious strings, sensual bass lines, glorious horns, and a bit of ‘magical twinkle’ sounds up your alley consider this release a must own.” Everything Is Chemical
  • “The Tomorrow Music Orchestra’s organic sound and wide variety of classic instruments… compliment her beautiful, breathy voice to create a soft, delicate, and dreamlike sound…” Sound Colour Vibration
  • “…tear-jerking chamber folk…” WRUV
  • “The album mixes pop songs with chamber orchestra, allowing for many aural colors and soundscapes, exhilarating and unique.” Neufutur



  • Recorded and mixed by Brian Bullard at SPANK! Studio, Chicago, IL
  • Additional mixing by Matthew Golombisky
  • Mastered by Peter Andreadis at All City Mastering, Chicago, IL
  • Album art photography by Matthew Golombisky
  • Layout/Design by Magdelena Fumagalli
  • Video trailer filming and editing by Matthew Golombisky on location in Quila Quina, San Martin de los Andes, Patagonia, Argentina.






Label/Press Contact:

Matthew Golombisky: [email protected]

Video Trailer for Tomorrow Music Orchestra available
for exclusive release on your site/blog.
Please inquire.
Tomorrow Music Orchestra continued:
TMO was conceived in 2004 in New Orleans and played an attention-grabbing concert at Cafe Brasil, that included many but included longtime friend and cohort Quin Kirchner (Wild Belle, NOMO). After Hurricane Katrina swept through New Orleans, Golombisky, along with Kirchner and vibraphonist Matthew McClimon, moved to Chicago where he continued the energy and goals of TMO: to continue to write fresh music and present it to mixed audiences in venues normally reserved for rock outfits.

In Chicago, a new configuration of TMO was formed almost over night by in March 2006 preparing for a performance at the now defunct, underground club Ice Factory including newly formed relationships with  James Davis (Beveled), and Caroline Davis (Maitri, Fatbook, Von Freeman).

But the urge to create something larger was evident; to have something that would allow him to compose massive and engaging works. He met violin/violist Hanna Mathey after performing with the Lucky 7s  at the Hungry Brain. She had a cellist friend, Katy Myers. The stage was almost set. Golombisky enlisted a trombonist he met while studying at Northwestern in the Fall of 2005, Jonathon Kirk.

From there TMO enlarged and enlisted many of Chicago’s great players, including folks from the Chicago Symphony Orchestra and more.

TMO became a mainstay in Chicago for several years, and continues its relationship with the great city. In total, there were over 35 players on the rooster and performances rarely saw less than 20 of them often crowding stages so much that part of the group would “spill out” into the audience.

Since that initial jolt of excitement, the Tomorrow Music Orchestra has played an array of concerts including over 75 original compositions by Golombisky at venues like WNUR 89.3FM (where Golombisky had a stint as DJ/producer), Empty Bottle, ears&eyes Festival, Around the Coyote Festival, Subterranean, The Hideout, has recorded for death metal band Daylight Dies and Sydney-based singer/writer, Via Tania, supported/backed Minneapolis Henrys at their CD release party, recorded a cello concerto for Helen Gillet, was the opening act for the Strobe Sessions, and much, much more!

After leaving Chicago, Golombisky continued his efforts and started working on pieces for his “Blank Tape Series”, an audience and performer driven presentation. He continued to compose for various projects, including composing the music for Via Tania’s 2015 release, Via Tania and the Tomorrow Music Orchestra (Narooma Records).

Individual Bios:

Helen Gillet: Jazz-based cellist, singer, composer and improviser Helen Gillet grew up in Belgium, Singapore, Chicago and Wisconsin. Performing her own eclectic mix of French, Contemporary Jazz, North Indian, Blues and Classical styles, Gillet has forged a path for the cello in the New Orleans music scene since her arrival in 2002, winning Best Female Performer (2014 Gambit Big Easy Awards), Best Mixed Bag (2012 Gambit Big Easy Awards) and Best Contemporary Jazz (2011 Gambit Big Easy Awards).
She has performed extensively across the United States and Western Europe. Beginning cello lessons at the age of nine, Gillet has taken her classical education all the way to a Master’s Degree (Beloit College ’00, Loyola University New Orleans ’04). Her training as an improviser began with North Indian Hindustani vocal ragas in 1998, which launched her into the worlds of free improvisation, jazz, funk, rock and French chansons. Gillet has performed at the New Orleans Jazz and Heritage Festival, Festival International (Lafayette, LA), Voodoo Festival, Copenhagen Jazz Festival and Hindsgavl Festival in Denmark, Mirano Oltre Festival in Italy and at the Kennedy Center Center in Washington D.C. and tours extensively in music venues across North America and overseas.

Gillet has performed and recorded with countless musicians such as Kid Koala, Smokey Robinson, Nikki Glaspie (Beyonce, Dumpstafunk, Neville Brothers), John Popper (Blues Traveler), Members of Morphine with Jeremy Lyons, Wayne Horvitz, Allison Miller (Ani Difranco), Marco Benevento, Johnny Vidacovich, Clint Maedgen (Preservation Hall Jazz Band, New Orleans Bingo Show), Michael Zerang, John Boutte, Mars Williams (Psychedelic Furs), Mike Dillon, Jacob Fred Jazz Odyssey, Mat Maneri, Hamid Drake, Nicole Mitchell, Ken Vandermark, Michael Ray (Sun Ra), The Mardi Gras Indian Orchestra, and European avant-garde Jazz musicians: Georg Graewe (AT), Kresten Osgood (DK), Tobias Delius (UK), Frank Gratkowski (DE), Paul Lytton (UK), Ingebrigt Håker Flaten (NO), Johannes Bauer (DE), Almut Kuehne (DE), and Wilbert de Joode (NL) and many others.

Matthew Golombisky: Matthew Golombisky is/was an active bassist, composer,ears&eyes Records director/founder, conductor (Tomorrow Music Orchestra, IfCM, Creer Es Crear), educator (Creer Es Crear, SSiiDS, IfCM, Hilldale School, SPACE), improviser, curriculum developer (SPACE, Mynah Music, IfCM, Creer Es Crear), arranger, orchestrator, sound designer, stage manager/production (Pitchfork Music Festival, Hideout Block Party, The Swell Season, Peter, Bjørn & John), radio DJ/producer (WNUR 89.3FM), organizer/presenter (Blank Tape Series, ears&eyes Festival), ideator (Clorox), and musical theatre writer & director (Bizzo!). Matthew has lived and been active in music, festival, and film scenes in the Bay Area CA, Chicago, New Orleans, Buenos Aires, New York state, and Asheville NC, as well as toured the USA and Europe with bands such as IfCM, NOMO, Zing!, Jhelisa, GKduo,WATIV, QMRplus, more. He also directs the independent record label ears&eyes Records, which represents bands such as Beveled,Caroline Davis Quartet, Quintopus, Silences Sumire, Maurice,Zing!, Pedway, James Davis Quintet, Tomorrow Music Orchestra,Algernon, among others and curated an annual music/arts/film festival under the same name. His undergraduate studies at the University of North Carolina at Asheville led to a B.A. in Jazz Studies/Bass Performance with an emphasis on 20th Century Classical music & theory and graduate studies to a M.M. in Composition from the University of New Orleans after a brief stint at Northwestern University after Hurricane Katrina swept through New Orleans in August 2005. He has taught performance, improvisation, composition, theory,  recording techniques, and music marketing to children and adults for more than 15 years in schools and colleges across the nation.  He joined the IfCM Collective to travel the USA, teaching clinics to high school and college students his methods of composing, improvising and conducting. In 2013, he teamed up with like-minded musicians/educators John Nash, Patrick Liddell andElisabeth Johnson and founded a not-your-typical-music-school school in Oakland CA to promote experiencing/learning music as a whole art form, as something relevant and exciting, called Mynah Music. Most recently, he became the Music Director and conductor of a youth orchestra in Buenos Aires, Argentina in a government funded program inspired by Venezuela’s El Sistema. Matthew’s discography includes over 45 recordings featuring his performance, compositions, conducting, film scores, and/or production.He continues to dedicate much energy to presenting wonderful, original and creative music through several groups including his 30 piece jazz/classical/rock ensemble, Tomorrow Music Orchestra. He also frequently performs with electric jazz-rock quintet, Zing!, acoustic free improv trio, Pedway, drums and bass rock out, punk jazz duo, GKduo with long time collaborator, Quin Kirchner, and jazz septet led by trombonists Jeb Bishop and Jeff Albert, Lucky 7s. In 2011, he teamed up with Chris Teal and his non-profit IfCMin Rochester NY and launched an education, audience, and community based version of Tomorrow Music Orchestra. His composition style is wide ranging, steeped in modern classical, experimental, thoughtful, electronic, sound design, jazz, rock and pop genres, but never limits himself to anything and absorbs all music experienced. He creates moods and aural images that captivate, intrigue, invigorate, confuse and/or excite his listening (and non-listening) audience.




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