Holland, Dave - Overtime
This exquisite recording from the Dave Holland Big Band is a template of how to make an album for jazz orchestra. The arrangements are faultless, rooted in the tradition yet bursting at the seams with innovative material. The recording quality is phenomenal even with the retro hard-panning; somehow everything gets through clearly without becoming fatiguing. Chris Potter solos on the pacy Bring It On (The Monterey Suite part 1), interacting with the ensemble beautifully. The backings are as interesting as the main head and envelop Potter to exactly the measure intended. Billy Kilson is an outstanding personality throughout this record and although a busy player is always musical and clever with his choices. The vibes take the piano/guitar role and gives the group sound a slight twist. The different sections work well together considering the calibre of soloists, Dave Holland demonstrating that as a great musician, it takes one to know one. His choice of players is brilliant and his robust writing keeps them all 100% invested in the music, at least it certainly sounds that way. The irregular grooves are swallowed up by the band like children eating sweets, never do we feel any sag or awkwardness even at the music's most contrapuntal moments. The ending of the opening number leaves us hanging beautifully before the epic Free For All (Monterey Suite part 2) rolls into view. An entrancing bass solo beckons us unnervingly close to Dave Holland's fingers. Kilson's sizzling ride triggers a simmering band entry with muted trumpets and luscious sax soli interweaving before the big tune bursts forth. Groovy bari and trombones transitions us to a second run before more new material. The piece will eventually transform into an utterly different groove but nothing ever seems disjointed here. Vibes take a solo with explosive reactions from Kilson goading them on. Kilson's cymbal and snare hits alone deserve their own review so varied and energetic are they. The drum solo at the end of this piece is full of chokes and cross rhythms possibly making it the standout performance of the whole record. A Time Remembered (Monterey part 3) takes us into ballad territory for some welcome respite. The brushes provide a lovely canvass for the horns to emote upon. The mood is tender, sensual even, and the most connected in sonority to big band lineage thus far. Although a slightly reduced size from the traditional big band line up, the sax section makes a gorgeous blend and functions as a unit really well. When the sticks kick in halfway through, the drive increases and a language rich bari solo takes us back to Gerry Mulligan but in 3D. The swing intoxicates and has one's head nodding with its laid back lilt. Even when the feel switches to straight 8s, the groove is just as endearing. Angular spitting and vaguely exotic harmony characterises Happy Jammy which thankfully is far superior to its title (Monterey IV would have done!). A rare example of a successful jazz soprano saxophone solo here has echoes of Dave Liebman and the drum heavy rhythm section definitely has echoes of Coltrane and Elvin. Backings pop back in to remind us where we really are and add interest to the interesting. The time is razor sharp and Kilson's closed hi-hat sounds like it might implode at times. Expansive arpeggios from the vibes signal a coda but the ending is satisfyingly off kilter and unexpected. Soprano inexplicably returns only to be swallowed by the tutti then cut off. Ario is a beautiful bluesy tune with enough modulation to keep things fresh. Mental Images begins unusually, like a Mancini score reorchestrated by Salvador Dali. Here is the familiar but not quite in the right context. Grooving and twisting simultaneously over an overactive Kilson snare the tune adds yet another unique perspective in a wide ranging and very satisfying album. Last Minute Man concludes the collection with its lazy, lumbering beat which is actually really taut and intricate. Hints of blues abound and the key changes keep the momentum. A beautiful work all round.