ECM 1353 LP: Dave Holland Quintet ?– The Razor's Edge - 1987 GERMANY NM
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50
$ 50
Sold For
Jan 31, 2021
Sold Date
Dec 7, 2020
Start Date
1
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USA
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Description
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Background -
Dave Holland's mid-1980s band played inventive music that was between post-bop and the avant-garde. The group acted as a launching pad for altoist Steve Coleman, gave publicity to the always-underrated trumpeter Kenny Wheeler, and in 1987 also featured trombonist Robin Eubanks and drummer Marvin "Smitty" Smith. The group's three ECM releases are well worth exploring, and this set gives listeners a strong example of their work. - Scott YanowAn acclaimed, ever-evolving jazz bassist, Dave Holland is a gifted improvisor and composer whose work has touched on acoustic post-bop, avant-garde jazz, and fusion. Along with his contemporaries Eddie Gómez, Miroslav Vitous, and Barry Guy, Holland helped refine and extend the melodic possibilities of the acoustic double bass. Building upon the innovations of slightly older players (Scott LaFaro, Gary Peacock, Barre Phillips), Holland emerged in the late '60s playing with Miles Davis' electric ensemble, and helped carry the acoustic double bass to yet another new level of creativity. In Holland's case, those refinements never lost touch with the core verities of straight-ahead jazz; his sense of swing is unexcelled. Additionally, following in Charles Mingus' footsteps, he gained respect as a composer, issuing landmark albums like 1972's Conference of the Birds and working with esteemed players Kenny Wheeler, Steve Coleman, Anthony Braxton, and others. Many accolades followed, including a Grammy award for Best Jazz Instrumental Performance, Individual or Group for his contribution to vibraphonist Gary Burton's 1999 album Like Minds. He has also won Grammy awards for his big-band albums, including 2002's What Goes Around and 2005's Overtime. He has continued to move between large- and small-group projects, issuing albums like 2010's Grammy-nominated octet effort Pathways, 2018's quartet album Uncharted Territories and 2020's trio work Without Deception.
Born in 1946 in Wolverhampton, England, 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. He also became interested in many 20th century classical composers, especially Béla Bartók. Holland played London clubs with England's 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 Scott's 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 drummer Jack DeJohnette and guitarist John Abercrombie; it was 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, Steve Coleman, and Steve Ellington. Thereafter, Holland-led small groups would continue to tour and record until the end of the century. Later members would include Marvin "Smitty" Smith and Robin Eubanks. Although the personnel would vary, the band would ultimately draw their identity from Holland's 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 to 1990. From 1987 to 1990, he was a faculty member at the New England Conservatory of Music. Aside from leading his own group, Holland's musical activities in the '90s included projects with DeJohnette, Gateway, and Herbie Hancock. He also recorded with Joe Lovano, Gary Burton, and Jim Hall. Holland's late-'90s quartet included Robin Eubanks, Steve Nelson, Chris Potter, and Billy Kilson. 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. The soul-jazz-inflected Pass It On appeared next in 2008.
In 2010, Holland released the octet album Pathways, followed in 2013 by Prism, featuring his quartet with guitarist Kevin Eubanks, pianist Craig Taborn, and drummer Eric Harland. He next joined pianist Kenny Barron for the 2014 duo album The Art of the Conversation. Two years later, he joined tenor saxophonist Chris Potter, West African-born guitarist/vocalist Lionel Loueke, and drummer Eric Harland for Aziza. Uncharted Territories, a collaboration with pianist Taborn and percussionist Ches Smith, arrived in 2018. The following year, he was back with Potter and drummer Zakir Hussain for their Crosscurrents Trio debut Good Hope. In 2020, he and pianist Barron paired with Philadelphia-drummer Johnathan Blake for the trio album Without Deception. - Chris Kelsey
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LP made by ECM Records, in GERMANY
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LP released in 1987
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LP is recorded in STEREO, DIGITAL
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Record Catalog Number: ECM 1353
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Record Labels are primarily BLACK with SILVER lettering
Dave Holland Quintet
LP Title -
The Razor's Edge
Track Listing -
A1. Brother Ty - Written-By – Doug Hammond - 4:34
A2. Vedana - Written-By – Dave Holland - 4:53
A3. The Razor's Edge - Written-By – Dave Holland - 7:52
A4. Blues For C.M. - Written-By – Dave Holland - 9:15
B1. Vortex - Written-By – Steve Coleman - 8:11
B2. 5 Four Six - Written-By – Kenny Wheeler - 4:26
B3. Wights Waits For Weights - Written-By – Steve Coleman - 5:25
B4. Figit Time - Written-By – Doug Hammond - 6:17
Performers / Other Information -
• Phonographic Copyright (p) – ECM Records GmbH
• Copyright (c) – ECM Records GmbH
• Recorded At – Tonstudio Bauer
• Alto Saxophone – Steve Coleman
• Bass – Dave Holland
• Design [Cover Design] – Barbara Wojirsch
• Drums – Marvin "Smitty" Smith
• Engineer [Recording] – Carlos Albrecht
• Engineer [Recording], Mixed By [Mixing Engineer] – Martin Wieland
• Flugelhorn, Trumpet, Cornet – Kenny Wheeler
• Producer – Manfred Eicher
• Trombone – Robin Eubanks
Digital Recording, February 1987
Tonstudio Bauer, Ludwigsburg
An ECM Production
© ? 1987 ECM Records GmbH
Printed in W. Germany
• Barcode: 042283304819
• Matrix / Runout (Side A Runout): 833 048 – 1 S 1 ECM 1353 320
• Matrix / Runout (Side B Runout): 833 048 – 1 S 2 ECM 1353 320
• Label Code: LC 2516
• Rights Society: GEMA
CONDITION Details:
The LP JACKET is in near mint minus overall condition! The jacket has NO seam splits, NO cutout marks and NO writing on it. The corners and seams are solid with just some light shelf wear, virtually as new! The colors on the jacket are sharp and clean - see our pictures with this listing as they are of the actual item offered.
The LP is in near mint minus overall condition. We found that the vinyl looked superb - there are no serious marks evident. It may have a very light spider mark or two, which does not affect play. Spider marks may sound on some audio systems, depending on the sensitivity of your audio gear. When play tested, it performed very well for a vintage record, with no skips, with some light noise periodically, mostly during quieter passages of the music. The LP retains much of the original gloss and sheen. It does have a bit of dust and perhaps a finger print or two on the vinyl so it should be cleaned before playing for best results. There are NO serious spindle marks on the record labels - this is a fine collector's grade copy of this LP.A Short Note About LP GRADING -
- Mint = Only used for sealed items.
- Near Mint = Virtually flawless in every way.
- Near Mint Minus = Item has some minor imperfections, some audible.
- Excellent = Item obviously played and enjoyed with some noise.
- Very Good Plus = Many more imperfections which are noticeable and obtrusive.
For best results, always properly clean your LPs before playing them.
The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).
Don't let this rarity slip by!!!
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