Dave Holland

小簡(jiǎn)介
爵士貝司大師David Holland是英國(guó)人，出道幾年后于上世紀(jì)60年代中期投入自由爵士的懷抱，隨后在60年代末期投身到Miles Davis的身邊，為Davis開拓混合爵士大業(yè)立下汗馬功勞，那時(shí)的他，相當(dāng)?shù)負(fù)u滾。Dave Holland正如印象中的歐洲樂手，音樂經(jīng)歷豐富扎實(shí)，對(duì)于創(chuàng)作的嘗試揭示著無限可能：四歲開始接觸音樂，從六零年代至今，Dave Holland始終活躍在歐洲與美國(guó)的爵士樂壇中，其音樂生涯的豐富多變，實(shí)在沒有幾位樂手可以相比。
Dave Holland is of a generation of bassists who, in the 60s and 70s, built upon the innovations of slightly older players like Scott LaFaro, Gary Peacock, and Barre Phillips, carrying the instrument to yet another new level of creativity. Along with contemporaries like Eddie Gómez, Miroslav Vitous, and Barry Guy, Holland helped refine and extend the melodic possibilities of the cumbersome double bass. In Hollands case, those refinements never lost touch with the core verities of straight-ahead jazz; Hollands sense of swing is unexcelled. Additionally, Holland is possibly the most accomplished pure jazz composer among bassists, after Charles Mingus. Hollands small groups in the 80s and 90s, while working firmly within the jazz idiom, presented a fresh alternative to the fusty re-creations of the neo-boppers.
Holland started playing ukulele at the age of four, switching to guitar at ten and bass guitar at 13. He took some piano lessons as a child, but was at first mostly self-taught, learning from pop music songbooks and by listening to the radio. He played in dance bands with friends. As a teenager he decided to try to make a living as a musician. Under the influence of such jazz bassists as Leroy Vinnegar and Ray Brown, Holland took up the double bass, learning primarily by playing along with records. He began playing professionally shortly thereafter. One of his first gigs was in a big band that toured behind the singer Johnny Ray. Holland studied with James E. Merritt, the principal bassist with the London Philharmonic, who recommended him to the degree program at the Guildhall School of Music and Drama.
At Guildhall, Holland gained experience in a variety of styles, from orchestral music to New Orleans jazz to bebop and beyond. In 1966, he began playing with many of the musicians with whom he would collaborate over the next two decades — musicians like trumpeter Kenny Wheeler, saxophonist John Surman, and pianist John Taylor who were well in tune with jazz innovations of the time. Holland acknowledges being influenced by Mingus, LaFaro, Jimmy Garrison, and Gary Peacock at this point in his career. Holland also became interested in many 20th century classical composers, especially Béla Bartók. Holland played London clubs with Englands top jazz musicians, as well as visiting dignitaries like Coleman Hawkins, Ben Webster, and Joe Henderson. In July of 1968, Miles Davis heard him at Ronnie Scotts and asked him to join his band.
Holland promptly relocated to New York and participated in the making of several classic Davis recordings, including In a Silent Way and Bitches Brew. In 1970, he co-founded (with Anthony Braxton, Chick Corea, and Barry Altschul) the group Circle, which embraced free jazz concepts. In the early 70s, he played with Stan Getz, Thelonious Monk, and Sam Rivers. In 1975, he formed the Gateway Trio — with Jack DeJohnette (drums) and John Abercrombie (guitar) — a group that would continue to record and tour intermittently for the next 25 years. In the early 80s, Holland worked extensively with Sam Rivers and organized his own band, a quintet with Wheeler, Julian Priester (trombone), Steve Coleman (alto sax), and Steve Ellington (drums). Thereafter, Holland-led small groups would continue to tour and record through the end of the century. Later members would include Marvin Smitty Smith (drums) and Robin Eubanks (trombone). Although the personnel would vary, the band would ultimately draw their identity from Hollands compositions.
In the 80s and 90s, Holland worked as an educator, heading the summer jazz workshop at the Banff School in Banff, Alberta, Canada, from 1983 until 1990. From 1987 until 1990 he was a faculty member at the New England Conservatory of Music. Aside from leading his own group, Hollands musical activities in the 90s included projects with DeJohnette, Gateway, and Herbie Hancock. He also recorded with Joe Lovano, Gary Burton, and Jim Hall. Hollands late-90s quartet included Robin Eubanks, Steve Nelson (vibes), Chris Potter (saxophone), and Billy Kilson (drums). The dawn of the 21st century brought more releases, including Not for Nothin in 2001, What Goes Around in 2002, and Extended Play: Live at Birdland in 2003, all on ECM. Overtime came out in 2005, followed by Critical Mass in 2006, both on Sunnyside.