Dave Holland's Prism at SF Jazz

I've been busy starting new recording projects (including TVP II) and realize I still need to write about the brilliant Bay Area debut of Dave Holland's Prism in February at SF Jazz.  Holland has been at the forefront of new music for over 40 years, and is still fresh, challenging, and inventive.  Originally discovered by Miles playing at Ronnie Scott's in London, he replaced Ron Carter in the Quintet.  With Chick Corea on electric piano, and Jack DeJohnette on drums, within two years the music changed from the still largely acoustic Filles de Killimanjaro, to Silent Way, to Bitches Brew.
A new cd/dvd set live from Europe in 1968 demonstrates just how powerful this "missing" Quintet was.  And Holland was at the very core of the change - even recommending former roommate John McLaughlin to Miles.  After Miles, Holland recorded Conference of the Birds with Sam Rivers, Barry Altschul, and Anthony Braxton for ECM, which marked another major change in improvised music.  On both acoustic and electric bass he has been on countless important records.  Two of my favorites are So Near, So Far - Joe Henderson with John Scofield and Al Foster, and Hands, with the great flamenco guitarist Pepe Habichuela.

Prism features Kevin Eubanks on guitar, Eric Harland on drums, and Craig Taborn on acoustic and electric piano.  Freed from the constraints of his long time gig on the Tonight Show, Eubanks was fiery and inventive; nearly harmelodic in a Blood Ulmer way.  Harland is majestic and wildly creative, and Taborn was a revelation.  Souful, funky, and with a mastery of harmony, Taborn is a perfect foil for the continuously creative Holland.  Always a very generous leader, Prism performs compositions by all the members.  Past, present, and future all are a split second away when Holland plays.  And if it is somewhat reminiscent of the best of 60's fusion, it should be.  Dave helped invent it!

Esperanza Spaulding at The Paramount Oakland

A few weeks ago Esperanza Spaulding played with her big band Radio Music Society, a follow up to her hit album Chamber Music Society.  Esperanza is brilliant, and this is her most ambitious project yet.  A true big band, which incorporates everything from funk, to Ellington, to samba, to Tin Pan Alley and Rock and Roll.  The musician credits give a good hint at how diverse and yet cohesive the ensemble is:
 Esperanza Spalding double bass,
electric bass, lead vocals
Jeff Galindo Musical Director,
trombone
Tia Fuller alto saxophone
Daniel Blake tenor and
soprano saxophones
Aaron Burnett tenor saxophone
Igmar Thomas trumpet
Leala Cyr trumpet, backing vocals
Corey King trombone
Jef Lee Johnson electric guitar,
backing vocals
Leo Genovese piano,
Fender Rhodes, keyboards
Lyndon Rochelle drums, backing vocals
Chris Turner backing vocals

As I'm fond of saying, she plays bass like Ron Carter, and sings like Betty Carter.  And leads an orchestra like Ellington or Sun Ra!

Number 40 April 29, 2010

Charles Lloyd at The Palace of Fine Arts as part of SF Jazz this last Sunday was magical.  He is one of my biggest musical influences.  I realized years ago that many of the open voiced major ninth chords I love to play, and which are unusual voicings for a guitarist, come from Keith Jarrett's work with Charles' early quartet.  The current quartet, with Reuben Rogers on bass, Jason Moran on piano, and Eric Harland on drums is perhaps his best since that fine group.  I just redicovered his first recording, "Of Course, Of Course",  with Ron Carter ,Tony Williams  , and Gabor Szabo.  Charles Lloyd was the music director for Chico Hamilton when Gabor was in the band.  I had the priviledge of being in Chico's band in 1979 and 1980, and I was flattered that I reminded him of Gabor.  It amazes me what a direct link there is between musicians.  Along with Wayne Shorter and Cecil Taylor, Charles Lloyd remains at the forefront of pushing the music forward, something very few artists can do at an advanced age.

Number 24 November 16, 2009

I’ve mentioned that there is a tremendous crop of very talented young artists and performers. The SF Jazz Festival had Esperanza Spalding a couple of weeks ago. I knew she was very talented, but as is often the case, didn’t realize how extraordinary she was until I saw her live. Her acoustic bass technique is fantastic, and she simultaneously sings very imaginative and daring vocal lines. I’ve been saying it’s like hearing Betty Carter and Ron Carter at the same time. It’s as if no one ever told these young people what was impossible.

The next night we saw Pat Martino. Rightfully a legend (I’m very proud that I also played with Jimmie McCracklin and Brother Jack McDuff) he’s always fresh and inspirational too me. He has a very unique philosophy on the fret board, which he explains in The Nature of The Guitar. His website is well worth visiting. I like to get instructional dvds of my favorite players, just to see how differently they see the instrument. Pat is very geometric, McLaughlin is of course modal, and Robben Ford is very vertical, with wonderful whole tone and diminished seasonings. Sophisticated blues, as Robben says. Miles was certainly happy with him.

Gregory James