Dave Holland Extensions CD

Dave Holland Quartet: Dave Holland (bass); Steve Coleman (alto saxophone); Kevin Eubanks (guitar); Marvin "Smitty" Smith (drums).
Recorded at Power Station, New York, New York in September 1989.
Personnel: Dave Holland (double bass); Kevin Eubanks (guitar); Steve Coleman (alto saxophone); Marvin "Smitty" Smith (drums).
Recording information: Power Station Studios, New York, NY (09/1989); Power Station, New York, NY (09/1989).
For this tight and enjoyable quartet date, bassist Dave Holland spread the composing opportunities around, his sidemen accounting for four of the six pieces. Arguably, none of these musicians ever sounded better, or more adventurous, than when performing in Holland's bands. While the leader himself retreated a good deal from his more routinely avant-garde recordings of the '70s, he appeared unwilling to allow his younger compadres to simply coast, instead evoking probing and thoughtful playing from them. Altoist Steve Coleman derives particular benefit from Holland's supervision, sounding far more fluid and confident than own his own rather more stilted albums. The pieces follow a general head-solos-head format, though with substantial elasticity and enough variation that no sense of sameness settles in. Holland, of course, is masterful throughout, and one can easily imagine simply listening exclusively to his basslines, the amazing imagination they convey, and being very satisfied. One of his better albums from this period, Extensions should please any Holland fan, and is an agreeable and non-threatening jumping in point for the curious. ~ Brian Olewnick
Dave Holland's most notable work with a guitarist in the past was with John Abercrombie, and their collective trio Gateway with drummer Jack DeJohnette. For this set his quartet includes guitarist Kevin Eubanks, along with longtime musical cohorts Steve Coleman on alto saxophone and Marvin "Smitty" Smith on drums. The album opens and closes with compositions by Eubanks.
"Nemesis" is a fairly straightforward post-bop structure that lets everyone strut their wares in fine form. "Color of Mind" is unapologetically funky, and provides a perfect rhythmic bed for Coleman to sail over with glee. Holland's two pieces, "Processional" and "The Oracle" are both subtle and atmospheric, providing a fine contrast to the greater rhythmic density of the other tunes. Coleman, whose been writing a piece or two on most of Holland's albums he appears on, here offers two of his most contrasting numbers. "Black Hole" adheres to his angular and propulsive standards, while "101 Degrees Fahrenheit (Slow Meltdown)" employs mysterious and cinematic dramatics.Q (1/91) - 3 Stars - Good - "Holland's bass is the formidable linchpin, soulful and propulsive throughout." - Recommended as one of the five best jazz albums of 1990. - "Lovely, lissome, rhythmically flexible 1990s contemporary bop."
Village Voice (2/5/91) - Performance A / Sound B - "The people telling you that the Holland is one of last year's best aren't exaggerating."