Lyrics and vocals by Maggie Curran
Music, production, mixing and mastering by Max Holm

Yeah It's Cool

Original Composition, THE COMING, by Max Holm
2015 Copyright #: 1-2916027901 
Arranged & Produced by Max Holm
Performed by the Brubeck Institute Jazz Quartet
Max Holm - Piano
Emmett Sher - Guitar
Zane DeBord - Bass
Timothy Angulo - Drums

The Coming - Brubeck Jazz Quartet original composition by Max Holm

Max Holm, Brubeck Fellow 2015-16, plays Denny Zeitlin's Quiet Now

Quiet Now - Denny Zeitlin

Personnel:
Max Holm - Piano
Long Tran - Bass
Louis Sweatt - Drums

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Mambo Inn By Mario Bauza, Bobby Woodlen, And Grace Sampson Played By Max Holm

Original compositions by Max Holm
US copyright
Max Holm composed, performed, arranged, recorded and mixed all tunes

Coming Holm original composition by Max Holm

Jazz tune written by Chick Corea. Played by Max Holm Trio

Max Holm - Piano
Colescott Rubin - Bass
David Lo Cascio - Drums

Armando's Rhumba by Chick Corea played by Max Holm Trio

Bolivia is a tune composed by the Jazz pianist Cedar Walton. In this recording, The Max Holm Trio plays an Buleria arrangement of the tune in the Flamenco music style. 

Max Holm - Piano/Arrangement
Colescott Rubin - Bass
David Lo Cascio - Drums

Bolivia by Cedar Walton played/arranged by The Max Holm Trio

The Rebal Alkhodari Group performs a Jazz, Bossa Nova, Classical, and Arabic arrangement of "Erbarme dich, mein Gott" from Bach's St. Matthews Passion.  Featuring Piano, Clarinet, and Voice

Recorded live at the Bancaja Cultural Center, March 1st, 2019 in Valencia, Spain.

Rebal Alkhodari - Voice and Oud
Max Holm - Piano
Colescott Rubin - Bass
Patrick Cleland - Drums
Laura Fan - Zhongruan
Luca Bordonaro - Clarinet

Erbarme dich, mein Gott by Bach, arranged and performed by The Rebal Alkhodari Group

Salsa in D by Max Holm (Afro Cuban)

Instrumentation:
Clarinet
Violin
Accordion
Trombone
Bass
Drums

Klezmer (original composition by Max Holm)

Represented by 10Miles Music, a Universal Production Music catalog specializing in Mediterranean and Middle Eastern music.

Childhood In Valencia (Universal Production Music - 10Miles- Killer Tracks)

Somber Yuri (Universal Production Music - 10Miles)

It’s a typical evening in Boston. I get some food to eat, and as I look for a place to sit, I notice this kind of well-known pianist acquaintance of mine, sitting with his usual entourage. Normally I just wave hello or fist-bump him, but I see the back of a young woman who’s sitting with his group. Suddenly she turns in my direction, and like the story goes, our eyes meet across the crowded room. It’s love at first sight. She is beautiful, the type of girl I don’t normally meet or go for. Or maybe I don’t go for them because I never meet them. I think to myself, what the hell, and I sit down in an empty chair next to her. There’s definite chemistry between us, but they’re talking about Justin Bieber, and I’m a jazz guy, so I sit eating my burger and fries. Eventually we chitchat. My ride arrives, and I tell her goodbye. I have a work thing early the next day.

A few hours later I see she’s sent me an Instagram DM. By the time I read it, three hours have gone by.

I hope I’m not too late. She’s been waiting for me to respond. I decide screw sleep, so we meet for a drink near where I’m staying. The chemistry between us is intense. A couple of tunes come on in the restaurant and I’m not really listening. She asks me about them. I don’t recognize the tunes. I’m paying attention to her. We’re flirting. I forget about it. I’m not much of a drinker, I’m feeling tired, but I don’t want to say goodbye again, so I invite her to my place. She says yes, and I make sure she understands that nothing will happen if she doesn’t want it to.

To say that it is the most amazing sexual experience I’ve ever had is an understatement. We make love in a completely open, giving and relaxed way. We fall asleep in each other’s arms. “All I want to do when I wake up in the morning is see your eyes” – I’m stealing those lyrics from Toto because it perfectly describes how I feel the next morning and I look into her beautiful eyes. We kiss. She has a plane to catch. We kiss goodbye. Instantly, as the Uber drives away, it fades into a memory.

When I started writing this tune, I called it DON’T GO. Then I thought: I don’t mean that. DON’T BE A STRANGER is an ode to open-hearted love, to being unafraid to share yourself with another person, not being self-conscious or fearful of love, of giving and receiving 100%, and of not attaching other requirements to that exchange of love. With other women I’ve felt like they were hiding their real selves from me, as if they were keeping themselves strangers from me.

How do we measure the value of another person in our lives? Is it by their ability to keep up with our pop culture references? If they can fit in with our friends? If we share the exact interests? If we’re real with each other, is it too scary to engage with open-hearts? Does it feel as if we can’t keep up the radical openness? Do we always have to live behind a facade? Do we buy into that facade that we’ve created for ourselves? Are we believing our own hype? Are we doomed to always be a stranger in any connection we have with another person?

So my message to you is: Even if only for one moment, be completely open-hearted: DON’T BE A STRANGER.

In the end it was just a one-night stand. I didn’t want it to be a one-night stand. I hope that we may we always be able to connect to each other with open hearts and shining souls. That's the message of DON’T BE A STRANGER.

Don't Be a Stranger

Don't Be A Stranger (Song for Julianne)an original composition by Max Holm

Handful Of Keys (Fats Waller)

Satellite (John Coltrane)

Peace At Last By Max Holm

Piano Ballad in B Minor

A 60s inspired Jazz quartet instrumental track with Saxophone reminiscent of the Lee Morgan album The Sidewinder and What I'd Say by Ray Charles. The track features Saxophone, Piano, Bass, and Drums playing a 12 Bar Eb blues tune in the Soul Jazz, Postbebop, style with flavors of Boogaloo, Latin Jazz music, and the Blues.

Personnel:
Max Holm - Piano
Trace Zacur - Tenor Sax
Kevin Barber - Bass
Mario Layne Fabrizio - Drums

Blues in Eb

Original composition by Max Holm. Available for synch. Max@MaxHolm.com

6 Hand Piano Klezmer tune (original composition by Max Holm)

Klezmer Sextet (original composition by Max Holm)

Arrangements, Recordings and all instruments by Max Holm
Deck the Halls
Jingle Bells
Joy to the World

Deck The Halls (Full) (jazz trio)

Solo piano original composition by Max Holm in the style of a Bach 3-part Sinfonia.

Sinfonia in C Minor

Sinfonia in C minor - Solo Piano

Part 3 - Desperation

Part 1 - Frustration

Rage (Prelude)

Original Song by Max Holm

Background:
It’s a typical evening in Boston. I get some food to eat, and as I look for a place to sit, I notice this kind of well-known pianist acquaintance of mine, sitting with his usual entourage. Normally I just wave hello or fist-bump him, but I see the back of a young woman who’s sitting with his group. Suddenly she turns in my direction, and like the story goes, our eyes meet across the crowded room. It’s love at first sight. She is beautiful, the type of girl I don’t normally meet or go for. Or maybe I don’t go for them because I never meet them. I think to myself, what the hell, and I sit down in an empty chair next to her. There’s definite chemistry between us, but they’re talking about Justin Bieber, and I’m a jazz guy, so I sit eating my burger and fries. Eventually we chitchat. My ride arrives, and I tell her goodbye. I have a work thing early the next day.

A few hours later I see she’s sent me an Instagram DM. By the time I read it, three hours have gone by.

I hope I’m not too late. She’s been waiting for me to respond. I decide screw sleep, so we meet for a drink near where I’m staying. The chemistry between us is intense. A couple of tunes come on in the restaurant and I’m not really listening. She asks me about them. I don’t recognize the tunes. I’m paying attention to her. We’re flirting. I forget about it. I’m not much of a drinker, I’m feeling tired, but I don’t want to say goodbye again, so I invite her to my place. She says yes, and I make sure she understands that nothing will happen if she doesn’t want it to.

To say that it is the most amazing sexual experience I’ve ever had is an understatement. We make love in a completely open, giving and relaxed way. We fall asleep in each other’s arms. “All I want to do when I wake up in the morning is see your eyes” – I’m stealing those lyrics from Toto because it perfectly describes how I feel the next morning and I look into her beautiful eyes. We kiss. She has a plane to catch. We kiss goodbye. Instantly, as the Uber drives away, it fades into a memory.

When I started writing this tune, I called it DON’T GO. Then I thought: I don’t mean that. DON’T BE A STRANGER is an ode to open-hearted love, to being unafraid to share yourself with another person, not being self-conscious or fearful of love, of giving and receiving 100%, and of not attaching other requirements to that exchange of love. With other women I’ve felt like they were hiding their real selves from me, as if they were keeping themselves strangers from me.

How do we measure the value of another person in our lives? Is it by their ability to keep up with our pop culture references? If they can fit in with our friends? If we share the exact interests? If we’re real with each other, is it too scary to engage with open-hearts? Does it feel as if we can’t keep up the radical openness? Do we always have to live behind a facade? Do we buy into that facade that we’ve created for ourselves? Are we believing our own hype? Are we doomed to always be a stranger in any connection we have with another person?

So my message to you is: Even if only for one moment, be completely open-hearted: DON’T BE A STRANGER.

In the end it was just a one-night stand. I didn’t want it to be a one-night stand. I hope that we may we always be able to connect to each other with open hearts and shining souls. That's the message of DON’T BE A STRANGER.

Don't Be A Stranger

Max Holm Trio: In A Sentimental Mood Composed by Duke Ellington
Jazz Piano Winner - Yamaha Young Performing Artists Competition 2018. Honorable Mention overall in the combined classical, contemporary, and jazz genres.

Piano: Max Holm
Bass: Noam Tanzer
Drums: Jas Kayser
Berklee Global Jazz Institute, Berklee College of Music, Boston, MA

www.MaxHolm.com 
Facebook.com/MaxHolmMusician 
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In A Sentimental Mood By Duke Ellington Performed By Max Holm Trio

Strollin' With You

Oh Won't You Stride With Me?

Hurry Home

Here And Gone

Fun's Over

Eva (solo piano with a Latin jazz feel)

Happy, joyful, upbeat - part of MOMENT IN TIME. See full song below.

Moment in Time

Moment In Time - 30 Second Cue (post pandemic dance pop)

Publishing: Zamlo and Sqank Music. PRO: BMI. Music represented by AudioSocket,  Crucial Music, Killer Tracks, 10Miles.  

MaxHolm.com

Berklee Graduate 2020 (Presidential Scholar, Berklee Global Jazz Institute (2017-2018) ex Brubeck Fellow, ex Crescent Super Band, ex Dillard Center for the Arts Jazz Ensemble.

2019 Downbeat Magazine Outstanding Piano Performance, Yamaha Young Performing Artists 2018 winner for Jazz, overall Honorable Mention in the combined classical/contemporary/jazz category. 

Featured on 2016 NIMA Best Jazz Album of the Year "The Inside of the Outside" by Grammy winners Jeff Coffin (Dave Matthews Band), Branford Marsalis, Victor Wooten, Trombone Shorty, et al.

All compositions are copyrighted. All global rights reserved.

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