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Daily articles carefully curated by the All About Jazz staff. Read our popular and future articles.

ALBUM REVIEW

Kenny Barron / Dave Holland Trio featuring Johnathan Blake: Without Deception

Read "Without Deception" reviewed by Mike Jurkovic

No matter the many miles and quantum number of life's triumphs and travails that have visited them since their last encounter, Kenny Barron and Dave Holland walk into a studio and instantly pick up whence they last met. But these two old cronies are not just killing time shooting the proverbial you-know-what. They have set out to interpret and shape time on their own terms, and not vice versa, two intrinsic elements of creation that still make their ...

ALBUM REVIEW

Dave Holland: Uncharted Territories

Read "Uncharted Territories" reviewed by Don Phipps

Bassist extraordinaire Dave Holland's album Uncharted Territories embraces the avantgarde creed of exploration and innovation over chord progressions. Along with master musicians saxophonist Evan Parker, keyboardist Craig Taborn, and percussionist Ches Smith, Holland and crew fashion one sonic twist after the next in a progression of 23 tracks, 20 of which are recorded improvisations. The “double" album allows each of the musicians plenty of room to awe the listener with soundscapes that seem to dissolve and reform. Light ...

ALBUM REVIEW

Aziza: Aziza

Read "Aziza" reviewed by Dan Bilawsky

How do you define Aziza? Is it a collective-minded outfit? A supergroup? An offshoot or variant on previous gatherings? An archetype for musical synergy? A nod-in-name to African mythology and spiritual discovery? Yes, it's all of that. But why not avoid the traps and trappings involved with classification and just cut to the chase: Aziza is an artistically headstrong and muscular powerhouse, plain and not-so-simple. Would you expect anything less from the combination of bassist Dave Holland, saxophonist Chris Potter, ...

EXTENDED ANALYSIS

Dave Holland: Prism

Read "Dave Holland: Prism" reviewed by John Kelman

Two instruments that bassist Dave Holland has rarely incorporated into his projects have been piano and guitar, his only guitar-centric album coming sixteen years after his first release as a leader, Conference of the Birds (ECM, 1973), when he recruited Kevin Eubanks for a particularly powerful set on Extensions (ECM, 1989). It took Holland even longer--nearly a quarter- century, in fact--before piano first surfaced on Pass It On (Dare2, 2008), with the recently deceased Mulgrew Miller, though Holland would subsequently ...

ALBUM REVIEW

Dave Holland: Prism

Read "Prism" reviewed by Dan Bilawsky

Bassist Dave Holland first became a leader-on-record with Conference Of The Birds (ECM, 1973), a now-classic outré quartet session. That initial leader date portrayed Holland as a restless seeker, willing and eager to explore the inner workings of group dynamics and the outer reaches of convention, and he's done little to alter that perception of himself in the intervening years. Holland has, with band after band and album after album, continually broadened his outlook, creating a vast and enviable body ...

ALBUM REVIEW

Dave Holland: Prism

Read "Prism" reviewed by J Hunter

Although über-bassist Dave Holland made his bones with one of Miles Davis' early electric bands, the lion's share of the British native's own music has come from the acoustic side of the scale. As such, longtime Holland fans will receive a major shock with their first listen to Prism. Those fans will need open ears and patience; everyone else just needs a volume control that goes to 11. The opening Fender Rhodes vamp on Kevin Eubanks' “The ...

ALBUM REVIEW

Dave Holland & Pepe Habichuela: Hands

Read "Hands" reviewed by Raul d'Gama Rose

The music on Hands, featuring stellar turns primarily from Spanish guitarist Pepe Habichuela and British-born bassist Dave Holland, is quite simply one of the most captivating on record. It is completely an alternative to style, to mere virtuosity, and to angelic grace and charm, as dictated by a muse. This music is the epitomé of the darkly beautiful magnetism of duende, and comes not from the hands and the fingers of the musicians, but rather from their innermost being--from the ...


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