NOTES AND TONES
With new CD, Dave Holland tells fans: This is who I am

Bassist Dave Holland has been at it a long time - more than 40 years to be somewhat precise. I first came across the English-born artist as a teenager while attending a concert at the Fillmore East. Holland, who turns 62 on Oct. 1, was part of a ridiculously miraculous band that Miles Davis had put together in the late 1960s - a sort of thumbs-up answer to people when he boldly pronounced, as only Davis could, that he would put together the best rock band in the world.

It was actually the beginnings of so-called "fusion" - and back then it was certainly the real deal. This band, which included Davis as leader and Holland, also happened to include both Keith Jarrett and Chick Corea on keyboards - organ and electric piano, respectively - John McLaughlin on guitar, Jack DeJohnette on drums and Airto Moreira on percussion. Steve Grossman, the saxophonist, might also have been on stage -he was a member of many of those Davis’ bands at the time - but that doesn’t exactly come to mind.

By default, Holland, like so many of the musicians who would travel through Davis’ electric and, in essence, his third and final fertile and creative period in his life, gained instant cachet and credibility from the association. In Holland’s case, it has turned out to be most appropriate, and he is more than worthy of such standing. He is, simply, one of the world’s most accomplished bassists; but more than that, he has produced some of the best and most engaging music of the past four decades.

He has been fearless - and obviously has gone out of his way to avoid the commercial. Instead, he has created a position for himself that boldly says: This is who I am, this is the music I play - take it or leave it. His recorded history - as sideman, co-leader, leader - is so extraordinary that it boggles the mind. I suppose he’s most associated with the ECM label, but at this point what stands out above all else is the vast number of combinations and permutations of musicians he has worked with and continues to work with. Holland places himself amid all kinds of configurations; they are, in essence, endless. He has solo, unaccompanied recordings out; he has a large ensemble that he leads and occasionally records. And there’s everything - and I mean everything - in between, from duos and more standard contexts to different, vibrant and atypical instrumental combinations.

Holland’s personal musical odyssey has taken him to many, many corners - and they are anything but squared-up. Let’s just say his curiosity hasn’t killed the cat. Actually, it’s just the opposite.

In the past decade or so, the bassist has made a major commitment to leading a powerful quintet-sextet that has had some - but not many - changes of personnel. Trombonist Robin Eubanks has been and remains in the group. Vibraphonist Steve Nelson was also a mainstay but now only plays with Holland intermittently; likewise for the talented saxophonist Chris Potter.

Three years ago, he launched his appropriately named "Dare2" label as a means of getting his music out independently and unfettered - although Holland was wily enough to attract and/or convince EmArcy/Universal - a major company - to distribute his product. That was likely the work of Louise Holland - his entertainment lawyer daughter who manages him. But the point is the company name - I mean, it is perfect in its simplicity; I am curious who thought of "Dare2."

On Tuesday, Holland issues his third Dare2 release - "Pass It On." It’s a 75-minute session that showcases his newest sextet edition: alto saxophonist Antonio Hart, Eubanks, trumpeter Alex "Sasha" Sipiagin and a rhythm section that in addition to Holland includes none other than Mulgrew Miller on piano and Eric Harland, who is one of the bright, younger jazz drummers, someone who has gained a great deal of traction the past decade or so in New York and around the world.

I would describe this disc as "crisp"; I mean, it crackles start to finish, from the opening tune, Eubanks’ "The Sum of All Parts," right down to the title track, which finishes the deal. There are nine selections - all Holland originals except for the aforementioned lead-in - and they move through a variety of moods: Latin-influenced, European classical, bebop, avant-garde and adventurous are housed within and throughout.

In many ways, "Pass It On," although pieces break cleanly from one to the next, seems essentially suite-like. In part, this has to do with Holland’s orchestrations and arrangements. He makes exceptional use of Eubanks’ trombone and Hart’s alto saxophone, intertwining the two, weaving them in and out of each other in a way that allows us to gain a sense that we are listening to a larger ensemble than six musicians; of equal importance is that although the solos are plentiful - Miller takes a masterful one in the opening tune, for instance - "Pass It On" is decidedly about ensemble playing.

To his credit and because there’s nothing left to prove to anyone but himself, of course, Holland does not foist himself out front - ever. There are some wonderful bass solos and passages, but right down to the band credits, he lists himself last. That tells you something.

This group, as constituted, might be Holland’s best to date. Some of his earlier quintets were pianoless, with Nelson’s vibes holding down the percussive fort. That worked well, but it’s difficult to surpass the work of Miller and what his technical ability and melodic and harmonic sensibility bring to the table. Similarly, Sipiagin, who performs regularly with the Mingus Big Band, as does Hart, offer across-the-board freshness. "Pass It On" is a great addition to the Holland discography.

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Although there will be much coverage of the whole affair, I would be remiss if I did not mention the Roots ‘N’ Blues ‘N’ BBQ Festival that hits the downtown streets Oct. 3 and 4. For a complete schedule, check the festival Web site at www.rootsnbluesnbbq.com.

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Tribune columnist Jon Poses also serves as the executive director of the "We Always Swing" Jazz Series. He can be reached via e-mail at jazznbsbl@socket.net.

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