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Overtime

by

Dave Holland

 
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Overtime

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Avg: 4.5 (88 ratings)

The longstanding quintet takes on big band.

  • We Say...

    The brilliant decision to simply wrap big band instrumentation around the longstanding Dave Holland Quintet (the most comfortably intuitive small jazz ensemble of this millennium) gives the bassist-leader both a powerful rhythmic engine and tremendous maneuverability. Indeed, agile solos from Holland and drummer Billy Kilson (who left both of Holland’s groups after this recording) are more plentiful than on the quintet discs, and Holland’s magnificent, four-part, 51-minute “Monterey Suite” that opens Overtime provides a more expansive canvas for the larger band. The cherished hallmarks of the quintet — Steve Nelson’s diaphanous vibes, Chris Potter’s broken-field solos — still obtain, and flow into new territory with the addition of baritone sax and flugelhorn voicings, and greater centrifugal force. In other words, more seems to be better for Holland the composer, a 60-year old Hall of Famer who somehow hasn’t stopped improving.

  • They 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.

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