“Sounds like you’re ready for some music!” Dave Holland said as he took the Finney Chapel stage with his quintet last Sunday. A near capacity crowd of Oberlin students, professors and residents attended to hear the vibrant sounds of the contemporary jazz collective.
Led by Holland, a revered British composer and innovator of the double bass, the Dave Holland Quintet includes Oberlin Conservatory’s own Professor Robin Eubanks on trombone, Steve Nelson on vibraphone and marimba, Chris Potter on alto and soprano saxophone and Billy Kilson on drums. The concert comes on the heels of the Quintet’s latest album, What Goes Around, an eclectic disc featuring big band re-workings of classic Holland compositions.
The Dave Holland Quintet formed in 1997 whereupon they toured Europe extensively. The following year saw the release of their debut album, Point of View. The Grammy-nominated Prime Directive and Not for Nothin’ soon followed.
The group has many different influences reflecting the varied accomplishments of all members, ranging from the bop era, funk, Latin music and avant-garde jazz. The majority of the compositions contain polyrhythmic drumming courtesy of Kilsen, as well as unconventional time meters.
The band is also unique in that all members contribute original compositions that are featured prominently in the studio and on the bandstand. Boston-bred Kilson said, “This is the most unselfish group I’ve ever been in. When I’m playing my ears are wide open, but I’m not listening to myself. I’m just reacting.”
The formula appears to have worked, garnering the group such awards as the Jazz Journalist’s Association’s Live Performance of the Year and Best Small Ensemble Awards, and the Bell Atlantic Jazz Awards’ Best Combo of the Year.
Sunday night’s concert kicked off with a Robin Eubanks original, “Global Citizen,” featuring solos by Nelson on vibraphone and Holland.
This was followed by “Last Minute Man,” a midtempo groove riding a funky bass line and featuring rich harmonies between Eubanks and Potter. “I loved the way Robin Eubanks and Chris Potter interacted with each other,” one audience member said. Eubanks’s solo was fascinating in that his playing became polytonal as he reached the climax.
The next piece, “Shifting Sands” from Not for Nothin’, reflected Holland’s work with Asian musician Anwar Brahim with its Arabic feel.
An audience favorite of the night, “Herbatious,” followed. The piece was a tribute to Herbie Hancock featuring an agile sax solo by Potter and an extended drum solo by Billy Kilson.
The level of interaction between all members was so pervasive, it was hard to single out individual performances.
Junior composition major Courtney Brian said, “I enjoyed watching David and Billy, and the complex rhythmic modulations; they grooved so hard.”
Kilson beat the drum set with all his might, and stared off into space as if in a trance at one point, while sweat beads rolled down his neck. The piece ended in a standing ovation.
The group closed their set with “Prime Directive,” which opened with a bluesy solo by Holland. As each musician had a chance to shine in the spotlight, the players made the collaboration look effortless. Cleveland resident Milan Freeman said, “The show was an emotional roller-coaster. So much space, yet they were able to exchange ideas without even looking at each other. Cerebral. I’m numb.”