Dave Holland, that is. The 72-year-old English double bassist has put together one of the strongest careers in the history of the jazz idiom. Certainly, the consistent quality of his work and the breadth of his efforts rank him among the greatest contributors in jazz. And, as it goes, most people outside of jazz fandom have probably never heard of him. His excellence is of the quiet variety, despite his prolific touring and recording.
My first exposure to his art was on Miles Davis’ Bitches Brew (1969.) Next I was captivated by his classic, Conference of the Birds (1972.) I’ve had the pleasure of seeing his quintet live. When I am asked about favorite this or that, I usually respond by doing a quick mental inventory of the recordings I own and count who appears the most. Holland is by far the bassist I have listened to the most . . . and my favorite.
No small wonder
I have admired Bennie Maupin’s Jewel in the Lotus (1974) for over 35 years and return to my vinyl copy when I crave music that is grounding. This example, from a fine jazz musician who may be primarily known for his association with Herbie Hancock during the 1970s, is textural and almost leaderless—with minimal soloing and a collective, ensemble attentiveness foregrounded instead. I was unaware of the music’s origination in rhythms of Buddhist chanting, which I learned in a Pitchfork review.
I also learned of bassist Buster William’s key role in the formation of this music. I shouldn’t be surprised because Williams is a wonderful player who figured prominently on another favorite album from this time, Joe Farrell’s Outback (1971.) On Maupin’s Jewel in the Lotus, I recommend “Ensenada” especially.
Let me like Nina Simone for another reason
Nina Simone (1933-2003) is certainly not an unknown singer. She is well-liked for her singing style, her voice for social issues, and her appeal to things “hip.” And I also really like the way she played piano; she’s somewhere between Horace Silver and Terry Adams in my appreciation. Her piano playing combined a lively and quirky right hand with a soulful left. Her playing is foregrounded on the 1961 Roulette title, At the Village Gate. I recommend “Just in Time” for your playlist, but this title is full of good tunes done well. Dig her playing on “Bye Bye Blackbird,” which is one of my favorite versions of this standard and becomes an all-out rocker.
Monk . . . again
About four months ago I posted with the opinion that Monk. was my favorite Thelonious Monk album. I stand by that opinion . . . and if I was forced to take but a single Monk album to a lonely place, my new choice would probably be Brilliant Corners. Recorded in 1956 and remastered in 1987, Brilliant Corners has a great lineup, featuring the saxophone of Sonny Rollins and the drums (including tympany!) of Max Roach. The tunes are “Brilliant Corners,” “Pannonica,” “Bemsha Swing,” and two others.
According to original liner notes, the music was very difficult for the gifted musicians to play. Maybe for this reason the album won’t be as accessible to many listeners as other Monk offerings. But it’s still fun, and I’d be just plain wrong not to recommend it to the curious.
