Third album from one of the most popular groups in modern jazz: Dave Holland has attained a new plateau of public and critical acclaim with his current quintet. Both of the quintet’s previous albums, "Points of View" and "Prime Directive", were Grammy-nominated; the band was voted #1 Acoustic Jazz Group of the Year in the Down Beat Critics’ Poll, Best Combo of the Year in the Bell Atlantic jazz Awards; the Jazz Journalists Association gave its Live Performance of the Year Award and Best Small Ensemble Award to the Holland Quintet, voted "Prime Directive" Album of the Year and also gave Holland prizes as Bass Player of the Year (twice) and Musician of the Year. Holland has also been #1 Bass Player in the Down Beat Critics Poll for three consecutive years and in 2000 received an Honorary Doctorate from the Berklee School of Music. In the midst of this ‘awards-bonanza’, quintet saxophonist Chris Potter became, at 29, the youngest musician ever to win the Danish Jazzpar prize, Europe’s highest honour for a jazz player. Holland: "What I love about music is the creation of something bigger than yourself. The groups I’ve always admired were like Ellington’s or Miles’s bands – groups of strong individuals focused around a musical idea. In my band it’s become clear what the character of the group is, and we can take advantage of that in the writing and presentation."
Not For Nothin'
Dave Holland Quintet
- 1Global Citizen
11:12 - 2For All You Are
08:19 - 3Lost and Found
09:27 - 4Shifting Sands
05:20 - 5Billows of Rhythm
06:45 - 6What Goes Around
13:04 - 7Go Fly a Kite
06:12 - 8Not for Nothin'
05:54 - 9Cosmosis
06:11
Stereoplay, CD des Monats
The common denominator among these musicians is uncompromising groove; it pervades every tune on the bill, regardless of tempo or style (and despite asymmetrical time signatures that would slog a less-stalwart crew). Other recurring motifs include clever counterpoint ( a Holland hallmark), contrast in colour and timbre and real-time improvisational dialogue (executed most seamlessly by saxophonist Chris Potter and trombonist Robin Eubanks on "Shifting Sands"). The caliber of musicianship in this group continues to astonish, and it would be impossible to single out highlights; suffice it to say that the 22/8 double-time section of "What Goes Around" elicits some of the very best Eubanks and Potter on record, both players demonstrating extraordinary control even as they stretch the sonic ranges of their instruments. Such effortlessly spine-tingling moments confirm Holland's stature as bandleader nonpareil - a Miles for the new era.
Nate Chinen, Jazztimes
Aside from being one of the top bassists on the scene, Dave Holland is a great leader. While it's his vision that dominates, he gives his sidemen plenty of room to operate. As a result, the mix of personalities come together as one. His latest disc is another shining example of the great teamwork involved in Holland's recordings. The disc's nine songs feature the distinctive harmonies and driving, funky grooves associated with Holland's recent output. Holland's bass work is as lively as ever, working around the melodies more often than within them. Holland's sidemen, like the leader himself, are great instinctual players who handle group improvisation especially well. ... This is a great album, one that deserves to be listened to again and again in order to discover new depths each time.
John Frederick Moore, Jazziz
Not For Nothin' breaks no particular new ground. Once again, the focus in the nine selections (five by Holland, one each by the other members) is the alternation among wide-open individual improvisation, the textural contrasts offered by varying instrumental combinations, and recurring explorations of rhythm. The magic is in what Holland and his players do with this relatively familiar format, with Potter, in particular, delivering brilliantly.
Don Heckman, Los Angeles Times
Das Quintett des britischen Kontrabassisten Dave Holland ist eines der wenigen existierenden Jazzensembles mit unmittelbarem Wiedererkennungswert. Da ist nicht nur der Sound der Band, der durch den Einsatz von Vibraphon und Marimba als Harmonieinstrument transparent und luftig wirkt. Da sind auch nicht nur die melodiösen Kompositionen der Musiker, die auch bei größter rhythmischer Komplexität vital swingen. Nein, da sind vor allem die Instrumentalisten selbst: fünf individualistische Virtuosen, die jeder für sich zum Besten gehören, was es im zeitgenössischen Jazz zu bestaunen gibt. Holland selbst ist ein unerschütterlicher Bassist, dessen sonore Linien ein solides Fundament legen. Billy Kilson ist ein explosiver Drummer, der auch als Solist zum Zug kommt. Steve Nelson findet auf seinem Vibraphon immer wieder unerwartete Harmonien und überrascht auch mit sauber aufgebauten Soli. Robin Eubanks ist heute vielleicht der wendigste Posaunist im Jazz. Und der Saxofonist Chris Potter vereinigt auf magische Weise raffiniertes Spiel - Outside - mit einem erdigen Gefühl - Inside. Eine reife Band, deren jüngste Aufnahmen immer wieder Neues entdecken lassen.
Nick Liebman, Neue Zürcher Zeitung
Es ist wie Liebe auf den ersten Blick: Zwei, drei Takte nur reichen aus, um zutiefst berührt zu sein. Was macht dieses Album so faszinierend' Ist es jene eigenartige Spannung zwischen ungeheurer Gelassenheit, wie sie nur eine perfekt miteinander vertraute Workingband auszustrahlen vermag ...' Oder manifestiert sich auf diesem neuen Highlight des Dave Holland Quintet nach Prime Directive die Essenz aus drei Dekaden Jazzgeschichte, die der englische Bassist maßgeblich mitgestaltet hat' ... Den kunstvoll miteinander verwobenen Linien in diesem komplexen Gebilde zu folgen, verlangt Hingabe. Dave Hollands Bass, den man oft mehr ahnt als bewusst wahrnimmt, liefert den Herzschlag für diese Musik, die Drummer Billy Kilson mit sicherem Gespür für Dramatik vorantreibt. Spitzenklöppler Steve Nelson zaubert an den Mallets, was mal an das 70er-Jahre-Vibrafon Gary Burtons erinnert, dann wieder afrikanische Ballaphon-Impressionen beschwört. Und erst die Dialoge von Chris Potter und Robin Eubanks, dessen Ausdrucksspektrum an der Posaune von zartestem Hauch bis zu wildem Growl reicht. Ergreifend etwa Go Fly A Kite, in dem dieses Quintett die hohe Kunst zelebriert, Zeit und Raum wirken zu lassen.
Sven Thielmann, Stereoplay (CD des Monats)
Er ist nicht nur einer der weltbesten Bassisten, sondern auch ein veritabler Song-Schreiber - vor allem aber ist sein musikalischer Geschmack absolut stilsicher. Da macht die dritte CD in der Reihe des Dave Holland Quintets keine Ausnahme. Sie gehört - wie ihre Vorgänger - zur Spitzenklasse! Möchte man die Musik der Holland-Group beschreiben, so fehlen einem zunächst die Attribute: Bläserbetont und im harmonischen Einsatz des Vibraphons klingt sie beinahe ein wenig "oldfashioned", vom Mainstream aber ist sie meilenweit entfernt. Dafür hat Holland zu grosse Virtuosen um sich versammelt, die auch schon einmal über die Stränge schlagen und die Befreiung des Materials proben können. Was hier betrieben wird, ist beileibe keine Exhumierung, sondern die Revitalisierung des Jazz-Erbes.
Tilman Urbach, Fono Forum
Not For Nothin' ist die bisher nuancenreichste, dichteste und auch offenste Aufnahme des Dave Holland Quintetts: So locker und perfekt kommunizieren fünf Individualisten nur, wenn sie sich vertraut sind wie die Mitglieder einer Familie. Freilich amtet Holland nicht als Patriarch, sondern als begnadeter Animator. Das Resultat ist inzwischen so überzeugend, dass die Gruppe in den Umfragen von Fachzeitschriften als die beste "akustische" Jazz-Formation überhaupt genannt wird und das Gesetz außer Kraft setzt, dass wirkliche Kunst verkannt werde oder, umgekehrt: dass Schrott sei, was Erfolg habe.
Peter Rüedi, Die Weltwoche
Das Dave Holland Quintet, das sich als Gruppe starker Individuen definiert, die eine musikalische Idee fest im Blick haben, spielt schon seit vier Jahren zusammen und mit dem vorliegenden bereits ihr drittes Album ein. Und das bezieht wie die Vorgänger seinen ganz besonderen Reiz aus der ungewöhnlichen Besetzung: Hier mischen sich die Klangfarben von Posaune und Saxophon mit den von Vibraphon, Bass und Schlagzeug. Bis auf Holland, der fünf Songs beisteuerte, ist jedes Bandmitglied mit einer eigenen Komposition vertreten. Und dennoch klingt das Album wie aus einem Guss: Von der Grundstimmung her entspannter, aber immer spannender Modern Jazz ohne Ausflüge in freiere Gefilde. Cover-Gestaltung, Anfass- und Klanqualität - feinstens durchgezeichnet, tonal stimmig und frei von Effekten - entsprechen dem hohen ECM-Standard.
Dirk Sommer, Image Hifi
Der Spagat zwischen kreativer Innovation und eingängiger Präsentation gelingt gespenstisch mühelos. Man muss kein Spezialist oder Jazzfachmann sein, um Holland und seine Mitstreiter zu verstehen. Man muss nur Spass an Melodien und abwechslungsreichen Arrangements haben. Lyrische bzw. transparente Melodien werden vorgestellt, ausgeweitet, umgestellt und wieder zum Ursprung zurückgeführt. Auch die Strukturen der Kompositionen sind überschaubar. Die Kunst steckt im Detail, und das in opulenter Form.
Thorsten Meyer, JazzPodium
Musik braucht Luft zum Atmen. Das Dave Holland Quintet verschafft sich diese Luft derart subtil, dass der Hörer über die vollen 73 Minuten dieser CD gespannt bei der Stange bleibt. Der Bassist hat mit dem Drummer Billy Kilson, dem Vibrafonisten Steve Nelson, Robin Eubanks and der Posaune und Chris Potter an den Saxofonen eine Band geschaffen, die nicht nur wie eine Einheit agiert und den Visionen ihres Leaders filigran zu folgen weiß, sondern deren Mitglieder auch eigene Songs zum Konzept beisteuern. ... Die Besetzung an sich ist ein Glücksgriff in Sachen Originalität. Allein der schöne Kontrast, den Vibrafon und Posaune schaffen, lässt immer wieder aufhorchen. Und dass Chris Potter ein Bläser voller Ausdruckskraft und berstender Vitalität ist, dürfte sich herumgesprochen haben.
Rolf Thomas, Jazzthing
A musician to be reckoned with for more than three decades, and one of the most widely respected bass players and improvisers in jazz, Dave Holland has attained a new plateau of public popularity and critical acclaim with his current quintet. Both of the quintet's previous albums, for instance, "Points of View" and "Prime Directive", were Grammy-nominated; the band was voted #1 Acoustic Jazz Group of the Year in the Down Beat Critics' Poll, Best Combo of the Year in the Bell Atlantic jazz Awards; the Jazz Journalists Association gave its Live Performance of the Year Award and Best Small Ensemble Award to the Holland Quintet, voted "Prime Directive" Album of the Year and also gave Holland prizes as Bass Player of the Year (twice) and Musician of the Year. Holland has also been #1 Bass Player in the Down Beat Critics Poll for three consecutive years and in 2000 received an Honorary Doctorate from the Berklee School of Music. In the midst of this 'awards-bonanza', quintet saxophonist Chris Potter became, at 29, the youngest musician ever to win the Danish Jazzpar prize, Europe's highest honour for a jazz player.
The group has made its mark by insisting on being "a group" in an age of all-star projects, and by the time-honoured route of going on the road and staying there. Itineraries have taken the unit all over North and South America, Europe and Asia, including a tour of China. Despite the individual members' crowded schedules, each of them makes the quintet a priority. This year, in fact, they've been clocking in thrice with Holland, also appearing as members of his newly-formed octet and big band.
"Much of how this music works is process," Dave Holland said recently. "The circumstances you create. It's about minimising what you impose on the situation but still having enough so that the key elements give it focus. Then, with all the wonderful creative talents of everybody else, you get this wonderful collective communion. That's what I love about the music. The creation of something bigger than yourself. The groups I've always admired were like Ellington's or Miles's bands - groups of strong individuals who were focused around a musical idea. I've always looked for strong players who would bring something to the table. What's happened in terms of the evolution of my group is that it's become clear what the character of the group is and what its unique aspects are. Now we can take advantage of that in the writing and presentation of the music. We've discovered many things about the band and many things about each other - not only about the individuals but the relationship between the individuals that can be explored in the compositions. How Billy plays with Steve, how Robin plays with Chris, and what it sounds like when Robin and I play together - different aspects of the group that can be explored. The band is still growing and expanding its ideas and interpretations and the music we're writing is taking advantage of that."
The group has made its mark by insisting on being "a group" in an age of all-star projects, and by the time-honoured route of going on the road and staying there. Itineraries have taken the unit all over North and South America, Europe and Asia, including a tour of China. Despite the individual members' crowded schedules, each of them makes the quintet a priority. This year, in fact, they've been clocking in thrice with Holland, also appearing as members of his newly-formed octet and big band.
"Much of how this music works is process," Dave Holland said recently. "The circumstances you create. It's about minimising what you impose on the situation but still having enough so that the key elements give it focus. Then, with all the wonderful creative talents of everybody else, you get this wonderful collective communion. That's what I love about the music. The creation of something bigger than yourself. The groups I've always admired were like Ellington's or Miles's bands - groups of strong individuals who were focused around a musical idea. I've always looked for strong players who would bring something to the table. What's happened in terms of the evolution of my group is that it's become clear what the character of the group is and what its unique aspects are. Now we can take advantage of that in the writing and presentation of the music. We've discovered many things about the band and many things about each other - not only about the individuals but the relationship between the individuals that can be explored in the compositions. How Billy plays with Steve, how Robin plays with Chris, and what it sounds like when Robin and I play together - different aspects of the group that can be explored. The band is still growing and expanding its ideas and interpretations and the music we're writing is taking advantage of that."
Related Recordings
You need to load content from reCAPTCHA to submit the form. Please note that doing so will share data with third-party providers.
More InformationYou need to load content from Turnstile to submit the form. Please note that doing so will share data with third-party providers.
More InformationYou are currently viewing a placeholder content from Facebook. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.
More InformationYou are currently viewing a placeholder content from Instagram. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.
More InformationYou are currently viewing a placeholder content from X. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.
More Information