Open Ears
January 2002

Open Ears
Archive <& /articles/open_archive.tmp &>

By Laurence Donohue-Greene

Certainly there are positives and negatives when listeners, and players alike, find themselves in midst of a group of musicians who have been well associated with one another over many years. For those musicians, being well aware of each other’s idiosyncrasies can lead to both a tight and professional unit, and conversely to an over-familiarity and consequent dull and predictable interplay and accompaniment. On the flip side, there is the inevitable potential for sparks of magic to fly from first time meetings, which unfortunately can also commonly lead to a literal estranged stage atmosphere of non-cohesive performances. Since the early 80’s, bassist extraordinaire Dave Holland has been leading his quintet in its slight variations of personnel and instrumentation, achieving the best of both worlds. The Holland quintet plays like a tightly knit veteran organization, similar to previous institutions of jazz led by such great leaders as Art Blakey, while also performing with an element of spontaneity, liveliness, and even abandon that one might expect from a more unfamiliar collective of superior soloists.

Fortunately, Dave Holland’s quintets have been well documented over the last two decades on ECM Records ever since the very first Holland quintet recording, Jumpin’ (1983), which featured a line-up of trombone, alto sax/flute, drums, trumpet, and of course, bass. His quintet of the 80’s recorded three sessions and now, after nearly a decade, Holland has returned with yet another set of three extremely strong quintet recordings, again for ECM. Having subbed the inclusion of trumpet (Kenny Wheeler was used during the 80’s) within the quintet for the vibraphone and marimba of Steve Nelson, Holland’s five-some has been as consistent personnel-wise and music-wise as it was once before. The only other alteration from his 90’s quintet recording debut, Points of View (1998), is that multi-reedman Steve Wilson has since been replaced by fellow multi-reedman Chris Potter on Holland’s two most recent quintet releases, Prime Directive (1999) and the latest, Not For Nothin’ (2001). In addition to the alto and soprano saxophone work Wilson once offered Holland’s unit, Potter also supplies amazing work on clarinet and tenor saxophone, not to mention his excellent musicianship on bass clarinet (which has yet to have been exploited by Holland, at least to my knowledge). Rounding out the truly incredible Holland quintet of the past few years, along with Nelson and Potter, are trombonist Robin Eubanks (a leftover from Holland’s 80’s quintet, having originally been the trombone replacement for Julian Priester) and drummer Billy Kilson (who replaced Gene Jackson, Holland’s mid 90’s drummer who was featured along with vibist Nelson on the bassist’s pre-quintet 90’s ECM recording, Dream of the Elders).

At New York City’s Birdland, the Dave Holland quintet was booked, and for the most part sold out, for four straight nights of ear-astounding original compositions and stellar solo and ensemble playing. The final set of his final night, which wound up to also be the quintet’s last set of the year, convincingly proved to listeners that what was being witnessed was the actual result of a fine oiled machine working in peak form. Starting things off with a Herbie Hancock dedication entitled “Herbacious”, drummer Billy Kilson immediately took to a Blakey-like drive behind the horn-stated theme before Chris Potter soon took to the skies on soprano sax. Potter’s inspiring and speaking-in-tongues solo was simultaneously melodic, rhythmic, and atonal, while Kilson’s peripatetic supporting accents were relentlessly reminiscent of Tony Williams’ work with Miles (circa Miles Smiles). As Art Taylor was to his Taylor’s Wailers, Kilson reflected that he was just as much if not more of the motor behind the machine than any of his counterparts including the group’s official leader. His intense bombardment momentarily continued following the end of Potter’s solo before a quick about-face change of pace transitioned into a bass-drum duet which itself morphed into an unaccompanied percussion solo. Kilson’s unceasing snare rolls, high hat rings, drumhead bop drops, and ringing ride cymbals were meticulously and astonishingly performed. Certainly demanding of his drum kit, the composition itself seemed to center around Kilson, regardless of whether he was being accompanied or not.

Certainly not a discovery by Holland by any means, Kilson already has had an extensive discography as a sideman, in particular with trumpeter Tim Hagans and tenor and soprano saxophonist (as well as arranger and record producer), Bob Belden. The drummer has contributed to about half a dozen projects with Belden and Hagans for Blue Note Records, half of them being quite strong sessions (Animation-Imagination; Re-Animation Live!; and Hagans’ Audible Architecture featuring Belden) and the other three more forgettable recordings, which were all Belden tribute concept albums of sorts (When The Doves Cry: The Music Of Prince; the music of Carole King on his version of her Tapestry; and the various artist compilation of the 90’s Blue Note roster paying tribute to the classic 50’s and 60’s Blue Note compositions of yesteryear on his hit and miss project, Shades of Blue). Though Kilson happens to be the only member of the Holland quintet who is not a leader in his own right, his absolute authority behind the drums has left no doubt that it is just matter of time before his name will be a recognizable one on its own. Surely a force to be reckoned with whether under the wings of Holland or potentially as a leader of his own outfit, Kilson’s drive as an invaluable member of Holland’s quintet sounds as if he is already, as a matter of fact, in the mindset of being a leader.

From Holland’s Point of View (1998) recording, Robin Eubanks featured his more than capable unaccompanied trombone on Dave Holland’s composition, “Bedouin Trail”. It should be mentioned that only a handful of trombone players would solely dare walk onto the stage, let alone into the recording studio, with only the need of their horn and a microphone. After listening to Eubanks’ creativity, quick slide-work, and use of overtones (which one might associate with another venturing solo trombone player, Albert Mangelsdorff), you can’t help but wonder if it’s just a matter of encouragement, a simple suggestion, and/or the right material to convince Eubanks to walk solely into the studio with his horn, no one and nothing else. Fellow trombonist George Lewis accomplished the rare feat with flying stars on his recording simply entitled, Solo Trombone Record (Sackville, 1977). Just a thought, Robin.

Eubanks’ solo seamlessly moved into the slight and subtle accompaniment of Kilson, who added colors and tones from his tom toms in addition to Nelson who worked lightly on vibraphone. Potter joined in on soprano sax, helping to produce gorgeous harmonies with Eubanks, eventually leading into Nelson’s brilliant single-malletted solo. As sturdy as a rock, Holland moved as one with the tom toms of Kilson while Nelson alternated between marimba and double-malletted vibes, which preceded the hauntingly beautiful horn exchanges of Potter and Eubanks who together gained ground alongside the bass and drums of the Holland and Kilson.

Chris Potter’s composition, “High Wire”, featured the reedman on an upbeat tune that called for his tenor saxophone expertise. The head was played, once again, by the intuitive horn duo before Potter took the reigns of the first solo. Never relying on a steady beat for longer than needed, nor missing a single beat at that, Kilson continued to weave in and out of Potter’s path, egging him on and exploiting the drum and sax duet juncture of the piece. Holland’s leadership, meanwhile, seemed to be based not only upon group movement as a whole, but he also tends to encourage all possible various combinations and pairings, whether just horns, drums and a horn, vibes and bass, etc. Every possible outlet not only for a solo, but also a duo, trio, and even quartet within the quintet itself is always exploited for every essence of creativity within each composition.

Nelson’s fast paced solo was so dizzyingly fleet fingered that his mallet sticks deceivingly gave off a bent illusion as he hit the keys of the vibes with ferocity and speed. He expertly used single and double mallets, as well as moments of double right-hand mallets along with a single left-hand mallet. The accompaniment of Holland and Kilson introduced the horn-stated theme that progressed into the coordinated quintet ending, revealing the indubitably tight consistency of the band.

From the quintet’s latest recording, Not For Nothin’ (released almost two years after their previous recorded outing, Prime Directive), Steve Nelson’s Bobby Hutcherson-influenced vibes were featured to the forefront of his own composition, “Go Fly A Kite”. With only Holland’s bass and Kilson’s continuing Tony Williams-influenced cymbal work, and the occasional alto sax of Potter, in accompaniment—Nelson gave himself ample room to prove his outstanding virtuosity as one of today’s great vibraphone players.

The blues-inspired Robin Eubanks composition, “Metamorphose”, featured an African tribal-like bass line opening reminiscent of Foday Musa Suso. Kilson eventually took to his seat again, laying down a funky foundation of beats, which were eventually complemented by Nelson. The horns then joined in the action, alternating between funky and hard bop lines, dependent upon Kilson’s guidance and quick pace setting tendencies and changes. Listening to Kilson’s evident foundation, I would be surprised if he has not worked with either ex-James Brown sidemen, Maceo Parker or Fred Wesley. Give the drummer some? Well, Holland certainly has, and Kilson definitely has taken the ball and run so to speak. His right-hand cocked cymbal technique proved super-natural within the astounding duet between Eubanks and himself. Following their duet, Potter took his alto solo while Kilson’s drums began escalating in volume under the same pattern with Eubanks complementing on the occasion, though on cowbell. The ensuing intense Potter and Kilson duet had most eyes closed, and all ears wide open.

On more than one occasion, as Holland subtly supported and led his ensemble through heads and solos, the leader broke out sincere and acknowledging smiles reflecting his pride of the band’s time-tested cohesiveness and forwardness in sound. Certainly no one needs to remind Holland how fortunate he is, and neither is there the need to make mention to any of his band mates of how obviously lucky they are. Those fortuitous enough to have recently checked out the Holland quintet, as they continue to push up and out live and on record, can see and hear for themselves that the mid-50 year old veteran bassist has surrounded himself yet again with an organic and integrated group concept. He successfully has placed his bandmates in the spotlight, both compositionally and also in regards to improvisation, and regardless of how long the personnel of Holland’s quintet remain together, there seems to be absolutely no risk of getting in a rut or routine with five such forward and interacting thinkers.

Here’s to the present and to the future, in hope that Holland’s quintet remains together for many more years to come! Meanwhile, keep your ears open to the music…

By the way, in the first month of 2002, Birdland in New York will be featuring guitarist Peter Bernstein with organist Larry Goldings and drummer Bill Stewart with a “special surprise legendary saxophonist” (1/3/-1/5); Toshiko Akiyoshi/Lew Tabackin Orchestra (1/7 and every Monday!); guitarist Jim Hall (1/10-1/12); Sonny Fortune’s Quartet (1/17-1/19); and a special night with Andrew Hill Sextet + 11 (1/24-1/26).