Overtone Quartet – Queen Elizabeth Hall – 20th November, 2009.
Wednesday, December 2, 2009
Dave Holland is one of the true greats of British and international jazz.
Through his work with Miles Davis, Kenny Wheeler, Keith Jarrett and others...as well as his extensive catalogue as a composer and band leader, he has achieved a god-like status amongst aspiring bass players and jazz fans alike.
This new project has been widely anticipated due to the calibre of the musicians involved. Holland gives off an air of complete authority on stage. His posture remains unchanged all evening and his feet remain planted firmly in one position as he makes playing the double bass look easy. Holland makes a brilliant team with his young American counterpart, drummer Eric Harland. Throughout the evening the pair never explicitly play the time in the pieces. Instead, they float around the beat creating space for the intelligent and fiery solo lines of New York saxophonist, Chris Potter. Potter switches between the tenor and soprano with great ease and displays a powerful sound on both.
His solos mix traditional bebop language with the harmonic innovations coming from his countrymen Kurt Rosenwinkel and Mark Turner. Jason Moran, on piano and Rhodes, complements the soloists brilliantly with well placed chordal accompaniment. Moran may be familiar to many through his recordings for the Blue Note label. His lyrical solo lines gradually build into ecstatic glissandos and rhythmic crunches.
John Marley
This new project has been widely anticipated due to the calibre of the musicians involved. Holland gives off an air of complete authority on stage. His posture remains unchanged all evening and his feet remain planted firmly in one position as he makes playing the double bass look easy. Holland makes a brilliant team with his young American counterpart, drummer Eric Harland. Throughout the evening the pair never explicitly play the time in the pieces. Instead, they float around the beat creating space for the intelligent and fiery solo lines of New York saxophonist, Chris Potter. Potter switches between the tenor and soprano with great ease and displays a powerful sound on both.
His solos mix traditional bebop language with the harmonic innovations coming from his countrymen Kurt Rosenwinkel and Mark Turner. Jason Moran, on piano and Rhodes, complements the soloists brilliantly with well placed chordal accompaniment. Moran may be familiar to many through his recordings for the Blue Note label. His lyrical solo lines gradually build into ecstatic glissandos and rhythmic crunches.
All four members of the group have contributed compositions to tonight’s set and there is some fantastic variety on display. The audience are treated to a mix of odd-time signature grooves, blistering free improvisations and soulful gospel-like harmony. Throughout the evening the band maintains a distinctive group sound which they apply to all of the pieces. The band receives a fantastic reception and a recording by the band would be a welcome addition to Holland’s catalogue.
John Marley