I'm not manly enough for DB, so I don't come around these parts often. Still, I couldn't resist this.
Since I live in the musicians' dorm here at Cornell, I had the opportunity to see the Dave Holland Quintet perform this evening, and all I have to say is: dang. I think I'm going to get into upright now
The performance was killer. The first half was a big band performance with the Quintet being backed by eight Cornell horn players (one of whom is a good friend) to form a big band that played four tunes. Evidently, this was Holland's suggestion, and it was a wise one--the section playing was exceptional. Of course, my friend, who is Ethiopian, got his name butchered by Holland when the Cornell students were being introduced, but that's life.
The second set was just the quintet. The most notable feature was the powerful drumming of Billy Kilson. He said that Tony Williams was his hero; I can see why. Sharp.
One of the things that really caught my attention was the strength of Holland's left hand--he was playing ridiculously complicated ostinatos and samba grooves, jumping all over the fingerboard, for minutes on end. I dare say that this was more impressive than the two extended solos he took, the first on "Shadow Dancer" (with the big band) and the second on a Latinate tune whose name escapes me at the moment.
Anyhow, after the show, I got to go backstage and meet him. I said, "Mr. Holland, you just sent me back to the woodshed," to which he responded, "Oh, I've been there a lot." He then gave me an autograph and flashed a smile with those POLITICALLY INCORRECT teeth; I went away convulsing like a little girl.
Bad. Ass.
Since I live in the musicians' dorm here at Cornell, I had the opportunity to see the Dave Holland Quintet perform this evening, and all I have to say is: dang. I think I'm going to get into upright now
The performance was killer. The first half was a big band performance with the Quintet being backed by eight Cornell horn players (one of whom is a good friend) to form a big band that played four tunes. Evidently, this was Holland's suggestion, and it was a wise one--the section playing was exceptional. Of course, my friend, who is Ethiopian, got his name butchered by Holland when the Cornell students were being introduced, but that's life.
The second set was just the quintet. The most notable feature was the powerful drumming of Billy Kilson. He said that Tony Williams was his hero; I can see why. Sharp.
One of the things that really caught my attention was the strength of Holland's left hand--he was playing ridiculously complicated ostinatos and samba grooves, jumping all over the fingerboard, for minutes on end. I dare say that this was more impressive than the two extended solos he took, the first on "Shadow Dancer" (with the big band) and the second on a Latinate tune whose name escapes me at the moment.
Anyhow, after the show, I got to go backstage and meet him. I said, "Mr. Holland, you just sent me back to the woodshed," to which he responded, "Oh, I've been there a lot." He then gave me an autograph and flashed a smile with those POLITICALLY INCORRECT teeth; I went away convulsing like a little girl.
Bad. Ass.
