'Dave Holland Quintet'
What The Critics Say
Dave Holland's quintets and big bands have set a new high standard for modern mainstream and progressive jazz since the late '90s. While not a new assertion, and considering his entire body of work, Holland has time and time again proven his compositional theorems as valid, accessible, ever interesting, and especially memorable. Using a sextet, upright bassist Holland sets the bar even higher, adding the always tasteful pianist Mulgrew Miller and a four-horn front line that is relentless. This group continues to define jazz perfectly in the 21st century. Evidence is offered in the jaunty opening "The Sum of All Parts," a 5/4 African percussion-based piece led out by the always interesting Robin Eubanks, with folded-in alto and trumpet, witty counterpoint, and the always engaging, joyous sound that Holland has perfected in the past decade. Adding a light samba feel during the upbeat "Fast Track" with the horns in perfect unison, the ensemble shifts up to hard bop, the hip piano of Miller adding to the enjoyability quotient. A 10/8 choppy and bouncy "Modern Times" also uses Brazilian inferences and a clarion call, and has Antonio Hart switching to soprano. On the soulful side, the title track recalls visions of Horace Silver courtesy of Miller -- a groovy, fun boogaloo that has "radio hit" written all over it, while "Lazy Snake" takes the soul element deep underground -- there's one on every Holland CD -- and contrasts it with a suggestion of stark surrealism. Then there's the near 14-minute, free-based, diffuse "Rivers Run" (dedicated to Sam Rivers) accented by the bowed bass of Holland, building in intensity as the horns step up the sonic density in darker hues. Of course, this band can easily drive music hard, as on the post-bopper "Equality," which turns sullen and funky, then swings angularly. "Double Vision" sports a Native American spirit feel in a feature for Hart's stylistic alto, and the serene, lucid ballad "Processional" in 5/4 time is further support to the notion that intellectual music need not be devoid of warm blue notes infused into its fabric. The addition of the wonderful trumpeter Alex Sipiagin, the ever-maturing trombone playing of Eubanks (who wrote "The Sum of All Parts" and "Rivers Run"), and the nearly perfect percussive propulsion of the extraordinary drummer Eric Harland make this band practically unstoppable, and unprecedented in seizing mantles for its sheer talent level. Another triumph among many solid efforts the clearly brilliant and effusive Holland has strung together, this should certainly be a popular item among listeners and critics, and is a strong contender for best jazz CD of 2008. ~ Michael G. Nastos, All Music Guide
What The Critics Say
One word that comes to mind when listening to Critical Mass is generosity. Double-bassist Dave Holland, four decades into his career, could certainly be forgiven for taking the word "leader" at its literal meaning, calling all the shots and keeping his musicians at bay. But that's not what he's about, and at any given time Critical Mass could just as easily have been credited to saxist Chris Potter, trombonist Robin Eubanks, vibist/marimbaist Steve Nelson, or drummer Nate Smith. Each player is provided with ample moments in which to take charge, and not fleeting, gratuitous moments but rather significant chunks of solo/lead space. Holland's belief in sharing extends to the area of composition as well. Each bandmember contributes one piece to the album (Holland does claim the other four, however) and, more often than not, uses that opportunity to shapeshift, to push the band -- and make no mistake, this is a band, not a random collection of studio players -- into unexplored territory. That's not to say that Holland takes a back seat -- his presence is always strongly felt -- only that he recognizes that the bass is, first and foremost, a support instrument and he's content with using it as such when the piece calls for it. When he does step in to take the leadership role, he is endlessly creative, commanding in his ability to sidestep predictability and further his own legend. The particular mix of instrumentation here allows for numerous rhythmic and tonal variations as well: on the album's longer pieces, in particular -- Eubanks' exploratory "Full Circle," Holland's appropriately hypnotic "Easy Did It," Nelson's multi-hued "Amator Silenti" -- the quintet's cohesiveness and utmost respect for one another becomes clearer by the minute. ~ Jeff Tamarkin, All Music Guide
What The Critics Say
Originally released on ECM in 1972, and here reissued on CD in Japan, this historic date features the two British bassists engaged while at the top of their powers, exploring not only tonality and the dynamic and harmonic possibilities that exist between two double basses, but also the expanded notions of how the different players' styles and musical intuitions dovetail, rather than work in opposition. Holland's pizzicato attack is far more languid and lush than Phillips,' whose style is over the top; they approach each encounter as one in which sheer propulsiveness becomes an aesthetic. This does not mean it all feels like extreme free blowing, but more, because of Phillips' edge and his solidly jazz arco approach -- Holland's sound has more of the classical in it -- the proceedings dance on the knife-edge of communication and noise. They slip around one another in a very aggressive dance, where implements of melody becomes a schema from which to jump into a deliriously moving expanse dynamically. There is simply no bass recording like this one, and over 30 years after its release, it is still a classic, an astonishing look at how intimate and instinctive musical communication can really be. ~ Thom Jurek, All Music Guide
What The Critics Say
This exceptional date by Dave Holland Big Band was recorded in 2002 in New York, yet remained unreleased until 2005. As is to be expected, Holland assembled a fine cast of seasoned and young players, some of whom are veterans of Holland's quintets and quartets. These are four saxophones -- two alto, tenor and baritone -- three trumpets and trombones, and vibes as well as bass and drums. They include Chris Potter and Robin and Duane Eubanks, Antonio Hart, Steve Nelson, Josh Roseman, Billy Kilson, Taylor Haskins, Gary Smulyan, Jonathan Arons and Alex Sipiagin. The music centers around the opening four-part "Monterey Suite," a tour de force commissioned by the Monterey Jazz Festival and originally performed there in 2001. Holland's writing for the trombone section is dynamite. Roseman, Arons, and Robin Eubanks offer up solid bottom rung lines and tight timing as anchors for the rest of the brass though they often charge out front. Potter once more displays his talents as not only a fine soloist but as an excellent ensemble player, carrying the chair with authority and verve. The beautiful "Ario" hosts some really knotty and swelling harmonic interludes and the closer, "Last Minute Man," is electrifying, transcending the confines of the studio. This is an essential Holland date, it is exciting, colorful and wildly innovative. Let's hope he composes and records more in this idiom soon. ~ Thom Jurek, All Music Guide
'Extended Play: Live at Birdland'
What The Critics Say
Shockingly, Extended Play is Dave Holland's first live album for ECM, a label he has been associated with for 30 years! Holland's standing quintet -- featuring trombonist Robin Eubanks, saxophonist Chris Potter, drummer Billy Kilson, and vibes and marimba virtuoso Steve Nelson -- are, according to today's jazz standards, a veteran ensemble. On this Birdland date from 2001, they offer ample evidence as to why they are one of the most highly regarded ensembles in the music today. The material on this double-disc collection is, predictably enough, mostly taken from the band's studio releases. But that's where predictability ends. Virtually everything here is in wonderfully extended form, with only one tune clocking in under ten minutes. Eubanks' laid-back, low-register agility and rhythmic intervention are combined with the wonderfully varied melodic sensibilities of Potter, whose melodic and dynamic palette is equally rich, offering a line that is nearly fathomless in its melodic possibilities and providing the necessary off-the-ground sensibility required to front one of the most compelling, intricately threaded, and texturally diverse rhythm sections in jazz. As evidenced by the sprawling opener, "The Balance," a Holland composition, the band is a seemingly inseparable amalgam of soloists, all gathered around shifting tempos, striated harmonics, and a chromatic prism that offers no edges, but a variety of hues and shades that is startling. While the entire performance is stunning in its diversity and consistency of inspiration, discipline, and sheer vision, other standouts do include the polyrhythmic and lyrical brilliance of "Claressence" and the breathtaking set closer, "Metamorphos." If ever there were a contender for jazz record of the year, for 2003, Extended Play is it. ~ Thom Jurek, All Music Guide
What The Critics Say
As he gained more and more respect and critical recognition in the early years of the 21st century, Dave Holland took a leap and expanded his music outward into a big band format. The word "expanded" is key here, for what Holland has mostly done on What Goes Around is send his quintet format through an expansion process, where there are more pieces in the puzzle, yet the same overall conception of sound remains. All but one of the pieces here are rewrites of earlier, previously recorded selections, dating from 1983 all the way to 2000. All of the charts are composed with a sureness and a grounding in tradition that belies the fact that this is Holland's first big band album. And all maintain the same intelligence in conception, spareness of texture, and crystalline detail, as Holland's small-group recordings for ECM, despite the obvious harmonic elaborations. For example, in "What Goes Around" -- which appeared on Holland's previous album, Not For Nothin' -- the ostinato-driven horizontal structure is basically the same, allowing for some fills by the ensemble, and despite the additional harmonic content, the vertical texture is similar, too. The main difference is that there is more urgency and more tension in the music now, which is most apparent in "The Razor's Edge," "Shadow Dance," and the only new composition, "Upswing." The Dave Holland Big Band includes tenor saxophonist Chris Potter, trombonist Robin Eubanks , vibraphonist Steve Nelson, and drummer Billy Kilson return to form the core of this big band -- as does flute/alto saxophonist Antonio Hart, who toured with Holland's group after these tracks were cut. These and several other players in the big band get plenty of room to solo -- and they do so with taste and occasional fire. This CD marks the addition of another fine big band to the ranks, though it does more for the evolution of Holland's music than for the big band idiom itself. ~ Richard S. Ginell, All Music Guide
What The Critics Say
Almost two years after the issue of the fine Prime Directive, Dave Holland brings his quintet back intact for another go at his particular brand of elegant jazz-making. One of the finest characteristics of Holland as a leader is his insistence on putting his bandmates out front. Thus, along with the five Holland compositions, there is one each by trombonist Robin Eubanks, saxophonist Chris Potter, vibist Steve Nelson, and drummer Billy Kilson. Eubanks' "Global Citizen" opens the proceedings and Holland soon shifts the first solo to Nelson, who traipses the edges of the rhythm. As the horn players re-enter, the bluesy flavor of bop enters with them and Nelson has to move outside into a Latin vein to keep the tune from making him disappear. Elsewhere, on Holland's "Shifting Sands," he uses three harmonic figures to create an Eastern-tinged mood akin to the folk music of North Africa. The bassist takes the first solo, weaving a subtle cross section of microphonics and open notes in the lower register, before Nelson colors his staccatos with subtle blues and grays as the band kicks in to signal Eubanks and Potter to engage in a tightly wrought but easy-feeling musical conversation. Not for Nothin' is all about compelling music; there isn't a spare or slack moment on the set, but as the band takes it out with the progressive post-boppism of Holland's "Cosmosis," it's clear to see how finely wrought this ensemble is: they anticipate each other even in the studio while playing the chart. There are moments of dovetailing here between Eubanks and Potter where the overlap is so slight yet so profound it could never have been left to chance, only to close listening. And there are spaces within the solos where Kilson signals Holland and then Nelson for a little double timing and opening of the mood to allow for Potter to blow through the changes in the tune before Nelson makes them disappear completely. Whoa! The only regret this reviewer has about Not for Nothin' is that it isn't a double CD. This is postmodern poetic singing at its finest. Who said jazz is a dead art form? Let he or she who has the ears to hear, hear; the Dave Holland Quintet is carrying the banner of creative music in the jazz tradition in the 21st century. ~ Thom Jurek, All Music Guide
What The Critics Say
You may have to wait a while between Dave Holland-led releases, but it's always worth it. Tremendous taste prevents Holland from making unsatisfying music. He is a great leader in the truest senses of the word -- he gives his team space, trusts their abilities and judgment, yet all the while remains firmly in command and infuses the results with his own style and personality. Prime Directive is a wonderful jazz album. These 77 minutes and nine tracks do not cheat or disappoint. The straight-ahead tunes -- composed by double-bassist Holland and his talented band mates (one each) -- all bear Holland's distinctive rhythmic patterns and harmonics. A fine example is the title track, on which Robin Eubanks on trombone and Chris Potter on saxophones hold a stimulating musical conversation over the rhythm section's driving groove. For listeners who prefer a more deliberate pace, there's the searching, contemplative "Make Believe," with Steve Nelson's lovely vibraphone work appointing the mood. On the hopeful, "A Seeking Spirit," fans will be tapping along to the rhythmic feast offered up by the leader and his pace-setting partner Billy Kilson on drums. The melancholy "Candlelight Vigil" presents Holland at his bowed best. Finally, "Wonders Never Cease" finds the entire band at the height of their collective, improvisational prowess. Prime Directive is recommended; a great leader is, indeed, hard to find. ~ Brian Bartolini, All Music Guide
