Archive for the ‘Dave Holland’ Category
Dave Holland Octet: Pathways (2010 – Dare2 Records)
As a happy medium between the smaller, lither quintet and its more expansive big band cousin, the Dave Holland Octet has toured occasionally over the past several years, making a formal release long overdue. Recorded live at New York’s Birdland at the beginning of 2009, Pathways also bucks Holland’s recent trend with a set list culled largely from the past, but with updated arrangements that take advantage of both the ensemble firepower and solo acumen of additional members Antonio Hart (alto saxophone), Alex Sipiagin (trumpet) and Gary Smulyan (baritone sax)—all members of the Dave Holland Big Band and a larger musical family to which the veteran bassist has been consistently loyal over the past decade.
While the modal “Shadow Dance” has been a part of Holland’s repertoire since Jumpin’ In (ECM, 1984), with the bassist’s chordless, horn-driven quintet of the 1980s, it has never grooved quite this hard, thanks to Smith’s ability to be simultaneously frenetic and in the pocket. Nelson’s marimba adds a new dimension to a familiar track that features a lengthy, painstakingly built and ultimately climactic solo from Hart that ratchets up even higher when Holland, Smith and Nelson kick into high gear. Nelson has played “Ebb and Flo” before, on the 1996 ECM quartet date, Dream of the Elders, but with four horns to push the melody and provide egging-on support for its soloists—Eubanks, Holland and Potter’s particularly incendiary tenor spot—Holland’s new, Latin-esque arrangement burns even brighter.
Holland’s larger ensemble arrangement of the riff-driven “How’s Never?”—originally heard in the guitar-centric context of his egalitarian Gateway trio with John Abercrombie and drummer Jack DeJohnette—is intriguing. Even more so is “Blue Jean,” originally a Latin ballad on his World Trio (Intuition, 1995) date with acoustic guitarist (and Robin’s brother) Kevin Eubanks and percussionist Mino Cinelu. Here, in a significantly extended version, it is still a minor-keyed blues ballad, but Holland’s lush, Gil Evans-like horn arrangement creates an expansive context for a Potter’s soulful tenor solo, as he liberally quotes the classic “The Shadow of Your Smile” before passing the baton to Sipiagin, whose flugelhorn solo is a combination of serpentine virtuosity and deeply rooted lyricism.
Despite a preponderance of older material, also including Sipiagin’s knotty, Brazilian-tinged “Wind Dance”—first heard on the trumpeter’s Out of the Circle (ArtistShare, 2007) and, like the original, with vibrant solos from both Sipiagin and Eubanks—there’s new material, too. The set opens with Holland’s 11-minute title track, another Afro-Cuban, modal workout that gives Smulyan an early chance to shine with a solo that swings hard as it weaves new melodies through Holland’s slowly unfolding changes. A lithe yet muscular bass solo leads to a tarter turn for Sipiagin (this time on trumpet) which, as it evolves, reaches into the stratosphere without ever turning brash or harsh. Potter turns to soprano on his own “Sea of Marmara,” a gentle, atmospheric track made all the more ethereal by Nelson’s shimmering vibes and an early segment where lines are passed around the horns like a tag team, but which, like most tracks on Pathways, turns high octane once the solos begin.
John Kelman (All About Jazz)
Original Release Date: 2010 – Label: Dare2 Records
Michael Brecker: Tales from the Hudson (1996 – Grp Records)
In the crowded field of excellent tenor players, Michael Brecker rises to the top of my list. I think the thing that gives Brecker an edge over the others is the fact that he is a master of so many genres of jazz. Many people are no doubt familiar with the electric, funky side of Michael Brecker as the co-leader of the Brecker Brothers and former member of Steps Ahead. He has done significant pop dates with Paul Simon, Carly Simon, and Joni Mitchell. One could easily fill a CD collection with albums on which he has performed as a sideman in many jazz contexts.
Yet this is only his fourth CD as a leader. All of them have been in the modern, progressive, straight-ahead jazz vein. This one is, to my ears, his most successful outing yet. I think the difference is that this one is a little less “progressive” or “outside.” The melodies here are a little more accessible and memorable, yet the soloing is just as creative and adventuresome as we have come to expect from Brecker and the other jazz luminaries on this CD. The top-notch team of sidemen here are Pat Metheny on guitar, Jack DeJohnette on drums, Dave Holland on bass, and Joey Calderazzo on piano. Pianist McCoy Tyner and percussionist Don Alias are added on two tunes.
Six of the nine compositions are Brecker’s. They are varied, thoughtful, and provide great vehicles for improvisation. Metheny contributes “Bilbao” from his Travels album, Calderazzo contributes a medium tempo swinger, and “Willie T.” comes from the late pianist Don Grolnick, who produced Brecker’s first two solo albums and performed with Brecker frequently.
I would especially recommend this album to those who have come to jazz through the “new adult comtemporary” door and are ready to take the next step towards discovering what real jazz is all about.
Dave Hughes (All About Jazz)
1. Slings and Arrows
2. Midnight Voyage
3. Song for Bilbao
4. Beau Rivage
5. African Skies
6. Introduction to Naked Soul
7. Naked Soul
8. Willie T.
9. Cabin Fever
Personnel:
Michael Brecker (tenor saxophone)
Joey Calderazzo, McCoy Tyner (piano)
Pat Metheny (guitar)
Dave Holland (bass)
Jack DeJohnette (drums)
Don Alias (percussion)
Original Release Date: September 10, 1996 – Label: Grp Records
Recorded at the Power Station, New York
Dave Holland Quartet: Conference Of The Birds (1972 – ECM)
In the early ’70s, bassist Dave Holland and drummer Barry Altschul had a well-deserved reputation as the most fluently creative rhythm section in free jazz. Two of the groups they worked with regularly were those of Sam Rivers and Anthony Braxton. It was Holland’s inspiration to pair the two in this 1972 quartet, when Rivers and Braxton represented two distinct generations of the avant-garde, the former generating explosive, driven tenor lines filled with honks and cries and the latter creating oblique postmodern solos on a variety of reeds. It was a brilliant idea, and the results are one of the essential jazz recordings of the’70s. Holland’s compositions include boppish, Ornette-inspired lines and strong melodies that provide cool and varied frames for improvisation. That Rivers and Braxton are among the finest flutists in jazz is just one of the treats, while Holland is one of the great bassists. Altschul’s scintillating drumming completes a quartet with some of the quickest reflexes in improvised music.
Stuart Broomer (Jazz Critic)
1. Four Winds
2. Q & A
3. Conference Of The Birds
4. Interception
5. Now Here (Nowhere)
6. See Saw
Personnel:
Dave Holland (bass)
Sam Rivers (reeds, flute)
Anthony Braxton (reeds, flute)
Barry Altschul (percussion, marimba)
Original Release Date: November 30, 1972 – Label: ECM Records
Gary Burton : Like Minds (1998 – Concord Records)
Gary Burton has assembled his “dream band” for LIKE MINDS. With his former protege Pat Metheny, duet partner Chick Corea, favorite drummer Roy Haynes and legendary bassist Dave Holland, Burton has formed an ensemble of staggering proportions. Giants all, this is more than a collection of “all-stars;” it is a cohesive entity. The music is performed as if by one mind and soul with five equal divisions.
The recorded results are stupendous to say the least. Original compositions by Metheny and Corea abound, as do two from Burton himself. Metheny’s “Question and Answer” gets the proceedings off to a nice start as the rich sonorities provide an elegant backdrop to some fine soloing. Corea’s delightful “Windows” is a deceptively intricate waltz that makes for some nice interplay between Burton and Metheny. Although he’s not a prolific composer, Burton’s own “Country Roads” and the jumping title track provide evidence enough that he is a master in this area as well. As an added treat, Gershwin’s “Soon” shows just what masters of this stature can do with a great old standard. Finally, Corea’s racing “Straight Up And Down” is a burning ending to this dream of a session
(From CD Universe)
1. Question and Answer
2. Elucidation
3. Windows
4. Futures
5. Like Minds
6. Country Roads
7. Tears of Rain
8. Soon 6:25
9. For a Thousand Years
10. Straight Up and Down
Personnel:
Gary Burton (vibraphone)
Pat Metheny (guitar)
Chick Corea (piano)
Dave Holland (Bass)
Roy Haynes (drums)
Original Release Date: November 3, 1998 – Label: Concord Records
Across Rhythm 