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#后波普　#自由爵士　#先锋爵士　#爵士

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艺人介绍

小简介

爵士贝司大师David Holland是英国人，出道几年后于上世纪60年代中期投入自由爵士的怀抱，随后在60年代末期投身到Miles Davis的身边，为Davis开拓混合爵士大业立下汗马功劳，那时的他，相当地摇滚。Dave Holland正如印象中的欧洲乐手，音乐经历丰富扎实，对于创作的尝试揭示着无限可能：四岁开始接触音乐，从六零年代至今，Dave Holland始终活跃在欧洲与美国的爵士乐坛中，其音乐生涯的丰富多变，实在没有几位乐手可以相比。

Dave Holland is of a generation of bassists who, in the 60s and 70s, built upon the innovations of slightly older players like Scott LaFaro, Gary Peacock, and Barre Phillips, carrying the instrument to yet another new level of creativity. Along with contemporaries like Eddie Gómez, Miroslav Vitous, and Barry Guy, Holland helped refine and extend the melodic possibilities of the cumbersome double bass. In Hollands case, those refinements never lost touch with the core verities of straight-ahead jazz; Hollands sense of swing is unexcelled. Additionally, Holland is possibly the most accomplished pure jazz composer among bassists, after Charles Mingus. Hollands small groups in the 80s and 90s, while working firmly within the jazz idiom, presented a fresh alternative to the fusty re-creations of the neo-boppers.

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. Holland also became interested in many 20th century classical composers, especially Béla Bartók. Holland played London clubs with Englands 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 Scotts 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 Jack DeJohnette (drums) and John Abercrombie (guitar) — 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 (trombone), Steve Coleman (alto sax), and Steve Ellington (drums). Thereafter, Holland-led small groups would continue to tour and record through the end of the century. Later members would include Marvin Smitty Smith (drums) and Robin Eubanks (trombone). Although the personnel would vary, the band would ultimately draw their identity from Hollands 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 until 1990. From 1987 until 1990 he was a faculty member at the New England Conservatory of Music. Aside from leading his own group, Hollands musical activities in the 90s included projects with DeJohnette, Gateway, and Herbie Hancock. He also recorded with Joe Lovano, Gary Burton, and Jim Hall. Hollands late-90s quartet included Robin Eubanks, Steve Nelson (vibes), Chris Potter (saxophone), and Billy Kilson (drums). 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.

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热门评论

• @三三啦啦啦：Dave Holland一度继巴赫之后成为我的失眠新男宠。听着贝斯音觉得云都感觉快落到耳边了，感觉这种音乐绝逼是乘着风带着神仙这么多年对人类未兑现的承诺来的，满怀歉意的给我一切想象，我不开心不爽它最后一个音都不收。孙猴子下来肯定是十八般武艺的，但是它几乎都要给我一招毙命了。里面除了噼里啪啦的有趣有时候好像跟老头儿下去看他耍赖那种气不得，难以置信的是还有点留白的中国风。几张专辑几天下来人生观都快更新了，牛逼到恨不得半夜给导师发个短信带个链接说把你的舒伯特放一边我怕你错过Dave holland。
• @三三啦啦啦：有的爵士灵明不着，可Dave holland是喝过了世事煮沸过的肉汤的，只是有时候调皮，声部转承之间细尾一荡抽人一下。一曲响起感觉房间里袜子瓶子苹果核都升到空中转圈儿，音乐一停心律还100，万物归位，心还打颤。在这冬天听完，只想冲到雪地里，把发烫的脸埋进去。

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最新简评（共46条）

• @大喵(不要自我设限.....)：
• @YIAN(南极鳗鱼)：/
• @直到世界尽头(超脱)：:)
• @桥豆麻袋。(我还没想好要写什么...)：i
• @Dicky777Wang( 㐂...)：♡
• @錳鎷君(Eine kosmisc...)：
• @J 媛(灵魂需要音乐沐浴思想)：混合爵士真的很不一样，居然用不同声响作出一个鸟类会议，太丰富有趣了，百鸟争鸣，我们只有听的份了。
• @未知生物：
• @滄海、往昔任沉浮....( )：.
• @灰(生命已经过期)：ok