Dave HOLLAND Quartet - Conference Of The Birds 1972
Jazz
This 1973 release is the place to start with David Holland. In the years just prior to this recording he worked with both Miles Davis and banjo player/songwriter John Hartford and developed into a skillfully inventive and deft player. His six originals on CONFERENCE range from the galloping frenzy of "Four Winds" to the playfully mathematical "Q & A" and the folkish title tune.
The line-up of this quartet is dazzling. Anchored by Holland and drummer Barry Altschul, saxophonist/flutists Sam Rivers and Anthony Braxton fly in and around the rhythmic architecture like a pair of mating birds. Unfortunately, this was the only session these four ever made together. Minus Rivers, and with the addition of Kenny Wheeler on trumpet, they went on to be Braxton's working quartet for a couple years. Additionally, Holland and Rivers recorded a bracing pair of duet albums. But CONFERENCE OF THE BIRDS remains that rare, once-in-a-lifetime event.
From CD Universe.
**
Dave Holland- Bass
Sam Rivers- Flute, Reeds, Soprano Sax, Tenor Sax
Anthony Braxton- Flute, clarinet, Reeds, Soprano Sax, Alto Sax
Barry Altschul- Marimba, Percussion
**
A1. Four Winds 6:32
A2. Q & A 8:34
A3. Conference of the Birds 4:34
B1. Interception 8:20
B2. Now Here (Nowhere) 4:32
B3. See-Saw 6:40
**
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Showing posts with label Dave HOLLAND. Show all posts
Showing posts with label Dave HOLLAND. Show all posts
Thursday, December 3, 2009
Saturday, October 31, 2009
Dave HOLLAND & Barre PHILLIPS - Music From Two Basses 1971 (REPOST)
Dave HOLLAND & Barre Phillips - Music From Two Basses 1971 (REPOST)
Label: Ecm
Audio CD: (August 30, 2005)
Jazz
Even back in 1971 the idea of a set of improvised bass duos wasn't much of a commercial proposition. But that didn't stop Manfred Eicher from bringing two of the jazz scene's most creativebassists together for the 11th release on his ECMlabel.
In 1968 American bassist Barre Phillips had recorded Journal Violone, which had the dual distinction of not only being the first 'jazz' solo bass recording, but also the first album of solo free improvisation. By 1971 Phillips had joined John Surman and Stu Martin in The Trio (previous employers had ranged from Archie Shepp to Leonard Bernstein to Jimmy Guiffre).
Meanwhile English bassist Dave Holland had ended his tenure with Miles Davis, hung up his electric bass and was exploring the outer reaches of free jazz with Chick Corea and Anthony Braxton in Circle, when Eicher suggested that he team up with Phillips in the studio.
I'm not sure if Music From Two Basses was the first recording of bass duets, but it's got to be close. Not that it matters that much; this is way more than merehistorical document. On the opening brace of improvised pieces, Holland and Phillips reveal themselves both as masterplayersand (more importantly)master listeners. After five and a half minutes of cheerfully violent exploratory jousting, Phillips picks at a mournful chordal figure while Holland solos; they swap roles a couple of times, then trail off into silence.
The second piece is more episodic, crammed full of sudden shifts from arco drones to fingerbusting pizzicato to cascades of harmonics or percussive scrabbling. At one point I started to imagine that Phillips' bass must have been stuffed with rodents gnawing their way out. But don't worry;there's still melody, tenderness and a ready supply of wit on display.
The shorter pieces that round off the record are no less involving; "Beans" is a bleak dronescape of buzzes and ghostly harmonics, "Raindrops" a study fora shower of tinypizzicato sounds. "Just a Whisper" builds from nothing to a furious dialogue of creaks, squeaks and scrapes, while "Song for Clare" ends things on a delicate note, soured only by Phillips' woozy arco.
This is a fine record by two masters of the instrument. It's also a reminder of how important ECM was to the birth of a creative, European basedimprovised music. Forget the old gag about how no-one can keep quiet during a bass solo, this is essential stuff for lovers of the low end.
By Peter Marsh.
**
Dave Holland- Bass, Violoncello
Barre Phillips- Bass
**
01.Improvised Piece I 10.33
02.Improvised Piece II 7.46
03.Beans 3.10
04.Raindrops 4.13
05.May be I can sing it for you 1.48
06.Just a Whisper 4.57
07.Song for Clare 4.53
**
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Label: Ecm
Audio CD: (August 30, 2005)
Jazz
Even back in 1971 the idea of a set of improvised bass duos wasn't much of a commercial proposition. But that didn't stop Manfred Eicher from bringing two of the jazz scene's most creativebassists together for the 11th release on his ECMlabel.
In 1968 American bassist Barre Phillips had recorded Journal Violone, which had the dual distinction of not only being the first 'jazz' solo bass recording, but also the first album of solo free improvisation. By 1971 Phillips had joined John Surman and Stu Martin in The Trio (previous employers had ranged from Archie Shepp to Leonard Bernstein to Jimmy Guiffre).
Meanwhile English bassist Dave Holland had ended his tenure with Miles Davis, hung up his electric bass and was exploring the outer reaches of free jazz with Chick Corea and Anthony Braxton in Circle, when Eicher suggested that he team up with Phillips in the studio.
I'm not sure if Music From Two Basses was the first recording of bass duets, but it's got to be close. Not that it matters that much; this is way more than merehistorical document. On the opening brace of improvised pieces, Holland and Phillips reveal themselves both as masterplayersand (more importantly)master listeners. After five and a half minutes of cheerfully violent exploratory jousting, Phillips picks at a mournful chordal figure while Holland solos; they swap roles a couple of times, then trail off into silence.
The second piece is more episodic, crammed full of sudden shifts from arco drones to fingerbusting pizzicato to cascades of harmonics or percussive scrabbling. At one point I started to imagine that Phillips' bass must have been stuffed with rodents gnawing their way out. But don't worry;there's still melody, tenderness and a ready supply of wit on display.
The shorter pieces that round off the record are no less involving; "Beans" is a bleak dronescape of buzzes and ghostly harmonics, "Raindrops" a study fora shower of tinypizzicato sounds. "Just a Whisper" builds from nothing to a furious dialogue of creaks, squeaks and scrapes, while "Song for Clare" ends things on a delicate note, soured only by Phillips' woozy arco.
This is a fine record by two masters of the instrument. It's also a reminder of how important ECM was to the birth of a creative, European basedimprovised music. Forget the old gag about how no-one can keep quiet during a bass solo, this is essential stuff for lovers of the low end.
By Peter Marsh.
**
Dave Holland- Bass, Violoncello
Barre Phillips- Bass
**
01.Improvised Piece I 10.33
02.Improvised Piece II 7.46
03.Beans 3.10
04.Raindrops 4.13
05.May be I can sing it for you 1.48
06.Just a Whisper 4.57
07.Song for Clare 4.53
**
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Saturday, October 24, 2009
Dave HOLLAND Quintet - Critical Mass 2006
Dave HOLLAND Quintet - Critical Mass 2006
Jazz
The Dave Holland Quintet was born in 1983 (the first incarnation of the band) on the album, Jumpin’ In. The original 1980s quintet (which had no chordal instruments—only bass, drums, and brass and reed instruments) went on to record two more albums after that. In 1997, Holland formed a second quintet, one which would gain more recognition and accolades over the course of its career (which still continues to this day), including multiple Grammy nominations and wins. The current quintet includes Robin Eubanks on trombone and cowbell; Steve Nelson on marimba and vibraphone; Chris Potter on saxophones; and Nate Smith on drums. Their music is a mixture of progressive-minded modern post-bop and avant-garde jazz, characteristically with asymmetrical rhythms and creative harmonies.
Intellect and physicality have always been close partners in the music of Dave Holland. As a bassist he combines a bruising tone with
smartly nimble execution; he doesn't make it seem easy, but good, and right. He accomplishes much the same balance in his compositions,
and with his signature band.
''Critical Mass'' is the Dave Holland Quintet's first studio album in five years, though it doesn't feel that long. Mr. Holland has kept the
group visible, not only on tour but also as the nucleus for his dynamic big band. And not much has changed about its basic sound or style.
Mr. Holland still writes for a frontline of Chris Potter on tenor and soprano saxophones and Robin Eubanks on trombone, often entangling
them in serpentine counterpoint. Steve Nelson still provides the only harmonic accompaniment, sparingly, on vibraphone. Mr. Holland lays
down his usual concrete foundation, against which a drummer can either abrade or glide. (There's a different drummer now, Nate Smith,
but his propulsive style adheres to the established model.)
As on past albums, the ensemble favors funk over swing and features tunes by each of its members. And it once again manages to pair
combustion with containment, so that even when things heat up -- as they often do, most vividly on ''Full Circle,'' by Mr. Eubanks -- there's
still control.
But the title still works: critical mass is the point at which this band resides. There are many examples on the album, none better than the
squalling climax of Mr. Nelson's ''Amator Silenti,'' the album's closing track. It's a moment all the more impressive for what has preceded
it: more than an hour of heightened performance of the sort that gives reliability a good name.
By Nate Chinen.
**
The jazz phrase “in the pocket” can mean simply keeping good time, or it can suggest an intuitive connection between members that allows each musician to anticipate the moves of his or her band mates. On the superb Critical Mass, the Dave Holland Quintet proves itself worthy of both definitions. Double bassist Holland, sax player Chris Potter, drummer Nate Smith, trombonist Robin Eubanks, and vibraphonist Steve Nelson play with an ESP few jazz groups achieve, and they make it sound effortless. Critical Mass sails through its New Orleans-inflected tunes like a marathon swimmer — active, but graceful. This energy originates with Holland, whose bass undergirds the clean timbre of the horns and sunny sounds of the vibraphone. On the Indian-inspired melody of ‘Secret Garden’, the vibraphone and horns, create a polyrhythm that both grounds and destabilizes the listener. Such a feeling typifies Critical Mass, a nearly flawless album whose inventiveness is only outweighed by its serenity.
By Stephanie Hanson.
**
Chris Potter- Tenor and soprano saxophone
Robin Eubanks- Trombone
Steve Nelson- Vibraphone, marimba, tambourine
Dave Holland- Bass
Nate Smith- Drums
**
01 The Eyes Have It 6:59
02 Easy Did It 11:14
03 Vicissitudes 9:56
04 The Leak 5:43
05 Secret Garden 8:40
06 Lucky Seven 8:34
07 Full Circle 12:12
08 Amator Silenti 9:15
**
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Jazz
The Dave Holland Quintet was born in 1983 (the first incarnation of the band) on the album, Jumpin’ In. The original 1980s quintet (which had no chordal instruments—only bass, drums, and brass and reed instruments) went on to record two more albums after that. In 1997, Holland formed a second quintet, one which would gain more recognition and accolades over the course of its career (which still continues to this day), including multiple Grammy nominations and wins. The current quintet includes Robin Eubanks on trombone and cowbell; Steve Nelson on marimba and vibraphone; Chris Potter on saxophones; and Nate Smith on drums. Their music is a mixture of progressive-minded modern post-bop and avant-garde jazz, characteristically with asymmetrical rhythms and creative harmonies.
Intellect and physicality have always been close partners in the music of Dave Holland. As a bassist he combines a bruising tone with
smartly nimble execution; he doesn't make it seem easy, but good, and right. He accomplishes much the same balance in his compositions,
and with his signature band.
''Critical Mass'' is the Dave Holland Quintet's first studio album in five years, though it doesn't feel that long. Mr. Holland has kept the
group visible, not only on tour but also as the nucleus for his dynamic big band. And not much has changed about its basic sound or style.
Mr. Holland still writes for a frontline of Chris Potter on tenor and soprano saxophones and Robin Eubanks on trombone, often entangling
them in serpentine counterpoint. Steve Nelson still provides the only harmonic accompaniment, sparingly, on vibraphone. Mr. Holland lays
down his usual concrete foundation, against which a drummer can either abrade or glide. (There's a different drummer now, Nate Smith,
but his propulsive style adheres to the established model.)
As on past albums, the ensemble favors funk over swing and features tunes by each of its members. And it once again manages to pair
combustion with containment, so that even when things heat up -- as they often do, most vividly on ''Full Circle,'' by Mr. Eubanks -- there's
still control.
But the title still works: critical mass is the point at which this band resides. There are many examples on the album, none better than the
squalling climax of Mr. Nelson's ''Amator Silenti,'' the album's closing track. It's a moment all the more impressive for what has preceded
it: more than an hour of heightened performance of the sort that gives reliability a good name.
By Nate Chinen.
**
The jazz phrase “in the pocket” can mean simply keeping good time, or it can suggest an intuitive connection between members that allows each musician to anticipate the moves of his or her band mates. On the superb Critical Mass, the Dave Holland Quintet proves itself worthy of both definitions. Double bassist Holland, sax player Chris Potter, drummer Nate Smith, trombonist Robin Eubanks, and vibraphonist Steve Nelson play with an ESP few jazz groups achieve, and they make it sound effortless. Critical Mass sails through its New Orleans-inflected tunes like a marathon swimmer — active, but graceful. This energy originates with Holland, whose bass undergirds the clean timbre of the horns and sunny sounds of the vibraphone. On the Indian-inspired melody of ‘Secret Garden’, the vibraphone and horns, create a polyrhythm that both grounds and destabilizes the listener. Such a feeling typifies Critical Mass, a nearly flawless album whose inventiveness is only outweighed by its serenity.
By Stephanie Hanson.
**
Chris Potter- Tenor and soprano saxophone
Robin Eubanks- Trombone
Steve Nelson- Vibraphone, marimba, tambourine
Dave Holland- Bass
Nate Smith- Drums
**
01 The Eyes Have It 6:59
02 Easy Did It 11:14
03 Vicissitudes 9:56
04 The Leak 5:43
05 Secret Garden 8:40
06 Lucky Seven 8:34
07 Full Circle 12:12
08 Amator Silenti 9:15
**
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Thursday, October 22, 2009
Dave HOLLAND Trio - Triplicate 1988
Dave HOLLAND Trio - Triplicate 1988
Label: ECM
Audio CD: (June 6, 2000)
Recorded at Power Station, New York, New York in March 1988
Jazz
TRIPLICATE is a trio set matching bassist Dave Holland with drummer Jack DeJohnette and alto saxophonist Steve Coleman. All three players work will within the structure of a skeletal ensemble such as this. DeJohnette in particular is a rock ... Full Descriptionsolid base, but also engages in flights of fancy with Coleman. Meanwhile Holland himself is here framed in gloriously rich and woody depth by the two other players (a hallmark of ECM is their sterling clarity and resonance).
The four Holland originals include his intoxicating "Four Winds" which first appeared on his masterpiece CONFERENCE OF THE BIRDS. There's also an arrangement of a traditional African melody, a composition by each of the two other players, and covers by Charlie Parker and Duke Ellington. DeJohnette's "Blue" manages the magical feat of being both wistful and propulsive.
fROM CD Universe.
**
I particularly admire the works Dave Holland recorded with Steve Coleman. I'm talking about this album (the only one in trio format), Extensions, Seeds of time, Jumpin' in and Razors edge. I think Coleman found in Holland the perfect bass player for his style, the rich textures he needs beneath his lines and times dismemberment (in particular in this album he gained stimulus even by the DeJonehette extremely beautiful playing). Holland found in Coleman a brilliant, inventive, fluid, creative sax player with a splendid sound and time and a particular love for syncopation. So the albums they made together really stand out in my opinion even considering the recent outputs from Holland's combo. Not that I don't like Potter (the alto sax player now with Holland) simply I prefer Coleman which in my opinion, is the greatest talent among the "young" lions. This album is really something great. They are only three but they seem a full combo, you don't feel the need of a piano player or of another harmonic instrument player (vibe, guitar or whatever). They're so good. The program is various. In particular I really love the blues "Take the Coltrane". And I am particularly grateful for "Segment" the Charlie Parker minor line which they played here with great energy, fantasy and pride. So in the end you have a very modern, post bop album with three marvellous musicians in action (they really listen to each other, they really interplay!) and some reinterpretations of Bird and Trane. Sorry if it's not enough, you see... Don't wait, buy this album which is really something to have absolutly if you love Jazz.
By Stef(bebop).
**
Dave Holland- bass
Steve Coleman- alto saxophone
Jack DeJohnette- drums
**
01. Games 5:07
02. Quiet Fire 5:49
03. Take The Coltrane 6:26
04. Rivers Run 9:17
05. Four Winds 4:21
06. Triple Dance 8:08
07. Blue 6:08
08. African Lullaby 3:11
09. Segment 6:38
**
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Label: ECM
Audio CD: (June 6, 2000)
Recorded at Power Station, New York, New York in March 1988
Jazz
TRIPLICATE is a trio set matching bassist Dave Holland with drummer Jack DeJohnette and alto saxophonist Steve Coleman. All three players work will within the structure of a skeletal ensemble such as this. DeJohnette in particular is a rock ... Full Descriptionsolid base, but also engages in flights of fancy with Coleman. Meanwhile Holland himself is here framed in gloriously rich and woody depth by the two other players (a hallmark of ECM is their sterling clarity and resonance).
The four Holland originals include his intoxicating "Four Winds" which first appeared on his masterpiece CONFERENCE OF THE BIRDS. There's also an arrangement of a traditional African melody, a composition by each of the two other players, and covers by Charlie Parker and Duke Ellington. DeJohnette's "Blue" manages the magical feat of being both wistful and propulsive.
fROM CD Universe.
**
I particularly admire the works Dave Holland recorded with Steve Coleman. I'm talking about this album (the only one in trio format), Extensions, Seeds of time, Jumpin' in and Razors edge. I think Coleman found in Holland the perfect bass player for his style, the rich textures he needs beneath his lines and times dismemberment (in particular in this album he gained stimulus even by the DeJonehette extremely beautiful playing). Holland found in Coleman a brilliant, inventive, fluid, creative sax player with a splendid sound and time and a particular love for syncopation. So the albums they made together really stand out in my opinion even considering the recent outputs from Holland's combo. Not that I don't like Potter (the alto sax player now with Holland) simply I prefer Coleman which in my opinion, is the greatest talent among the "young" lions. This album is really something great. They are only three but they seem a full combo, you don't feel the need of a piano player or of another harmonic instrument player (vibe, guitar or whatever). They're so good. The program is various. In particular I really love the blues "Take the Coltrane". And I am particularly grateful for "Segment" the Charlie Parker minor line which they played here with great energy, fantasy and pride. So in the end you have a very modern, post bop album with three marvellous musicians in action (they really listen to each other, they really interplay!) and some reinterpretations of Bird and Trane. Sorry if it's not enough, you see... Don't wait, buy this album which is really something to have absolutly if you love Jazz.
By Stef(bebop).
**
Dave Holland- bass
Steve Coleman- alto saxophone
Jack DeJohnette- drums
**
01. Games 5:07
02. Quiet Fire 5:49
03. Take The Coltrane 6:26
04. Rivers Run 9:17
05. Four Winds 4:21
06. Triple Dance 8:08
07. Blue 6:08
08. African Lullaby 3:11
09. Segment 6:38
**
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