DAVE HOLLAND TRIO - Triplicate
ECM 674 3081
Dave Holland (double bass); Steve Coleman (alto saxophone); Jack DeJohnette (drums)
Recorded March 1988
Unusual album for both the bassist, and ECM, at the time. Holland's output for the imprint in the eighties had often consisted of quintets usually featuring Kenny Wheeler with a clear structure and group organisation, a specific sound if you will that also permitted space for individual expression and solos that evolved out of the compositions. Triplicate finds Holland paring down the line up to the bare essentials (but still without a harmony instrument) retaining his then saxophonist, Steve Coleman and his old friend, Jack DeJohnette at the drums. An association that stretched back to their time with Miles Davis' band of the early '70's, and a partnership that would be a first choice on many a recording session.
The session could almost be viewed as a hark back to the blowing dates of the fifties and sixties, and perhaps it was a conscious decision by the bassist to pause momentarily from his work with the quintet and simply let off a bit of steam. This they certainly do as much of the titles are pretty freewheeling and are none the worse for that. There is an unrestrained joy in Steve Coleman's opener, 'Games' that even absolves the leader from any compositional responsibility. The resulting music is therefore allowed to flow in a most satisfying manner. Coleman proves his burgeoning reputation was not ill founded, turning in one marvellous solo after another, his lines like molten lava pouring over the solid rhythmic support from bass and drums. This trait is prevalent throughout the set, with all participants taking fine solos, and relishing in the freedom allowed within the music. This is clearly hear in the outstanding 'Triple Dance' where all three musicians solo powerfully, and also work together as a tightly knit unit ensuring cohesiveness at any given moment.
As well as compositions from all three members of the trio, there are also a couple of 'standards'. Charlie Parker's 'Segment' gets a suitably fast and fluent outing from Coleman, who far from spitting out notes in all directions produces a solo that for all its turbulence is solidly constructed and logical showing his affinity for the idiom, even though in his own career he is veering away from such a straight ahead approach. The other familiar piece is Ellington's 'Take The Coltrane', and once again the young altoist does not falter, and the lack of harmony instrument does not hinder some fine playing over Duke's changes.
A different record this maybe, but Holland shows that his quintet is not far from his mind in his own composition 'Four Winds' that right from the opening theme one can imagine being played by his favoured (at the time) three horn front line. An album that has not just stood the test of time, but is also perhaps due for re-evaluation within Holland's vast discography.
ECM 674 3081
Dave Holland (double bass); Steve Coleman (alto saxophone); Jack DeJohnette (drums)
Recorded March 1988
Unusual album for both the bassist, and ECM, at the time. Holland's output for the imprint in the eighties had often consisted of quintets usually featuring Kenny Wheeler with a clear structure and group organisation, a specific sound if you will that also permitted space for individual expression and solos that evolved out of the compositions. Triplicate finds Holland paring down the line up to the bare essentials (but still without a harmony instrument) retaining his then saxophonist, Steve Coleman and his old friend, Jack DeJohnette at the drums. An association that stretched back to their time with Miles Davis' band of the early '70's, and a partnership that would be a first choice on many a recording session.
The session could almost be viewed as a hark back to the blowing dates of the fifties and sixties, and perhaps it was a conscious decision by the bassist to pause momentarily from his work with the quintet and simply let off a bit of steam. This they certainly do as much of the titles are pretty freewheeling and are none the worse for that. There is an unrestrained joy in Steve Coleman's opener, 'Games' that even absolves the leader from any compositional responsibility. The resulting music is therefore allowed to flow in a most satisfying manner. Coleman proves his burgeoning reputation was not ill founded, turning in one marvellous solo after another, his lines like molten lava pouring over the solid rhythmic support from bass and drums. This trait is prevalent throughout the set, with all participants taking fine solos, and relishing in the freedom allowed within the music. This is clearly hear in the outstanding 'Triple Dance' where all three musicians solo powerfully, and also work together as a tightly knit unit ensuring cohesiveness at any given moment.
As well as compositions from all three members of the trio, there are also a couple of 'standards'. Charlie Parker's 'Segment' gets a suitably fast and fluent outing from Coleman, who far from spitting out notes in all directions produces a solo that for all its turbulence is solidly constructed and logical showing his affinity for the idiom, even though in his own career he is veering away from such a straight ahead approach. The other familiar piece is Ellington's 'Take The Coltrane', and once again the young altoist does not falter, and the lack of harmony instrument does not hinder some fine playing over Duke's changes.
A different record this maybe, but Holland shows that his quintet is not far from his mind in his own composition 'Four Winds' that right from the opening theme one can imagine being played by his favoured (at the time) three horn front line. An album that has not just stood the test of time, but is also perhaps due for re-evaluation within Holland's vast discography.
