Audiences used to head for the bar in the bass solos on jazz shows. But not any more. Better amplification, technical strides and the evolution of a collaborative philosophy have given the acoustic bassist a status unthinkable 40 years ago.
This winter has provided many opportunities to reflect on that: the Norwegian bass genius Arild Andersen has just departed; Christian McBride and Ray Brown are due this month; and the UK expatriate virtuoso Dave Holland is on tour throughout this week.
Holland is here on a Contemporary Music Network tour, and with an octet that gives his intricately earthy music a dynamic span all the way from an intimate whisper to a raucous, Mingus-band clamour. On its second gig of the trip, the Holland octet certainly emphasised the Charles Mingus connection in the opener - Holland regularly echoes that unruly bassist/ bandleader's legacy in both the penetrative passion of his instrumental sound and the bluesy harmonies of his ensembles. The connection was pursued in the following Blues for CM, a bleary, stealthily stalking theme of Ellingtonesque brass effects and an astonishing solo of streaming double-time melody from vibraharpist Steve Nelson. That was followed by an alto sax break of wailing intensity from a very impressive Antonio Hart.
Nelson, who makes the sometimes sugary vibes sound uncharacteristically clear and purposeful, played a startlingly inventive extended solo in each half, and one of the few downsides of the gig was that he was otherwise relegated, or relegated himself, to a supportive role.
The Razor's Edge, a fast, zigzagging Holland postbop standby, benefited from a countermelodic complexity made possible by an extended line-up. Gary Smulyan's baritone saxophone boiled and burbled engagingly through it. UK trumpeter Kenny Wheeler then confirmed - on a ballad dedicated to him - that spacious pieces are the best setting for his skidding, upper-register sounds and quivering long notes.
All the performers are first class, but there were several solos of energy and poise from the gifted saxophonist Chris Potter; of rugged agility from trombonist Robin Eubanks; and a couple of rhythmic tours de force from drummer Billy Kilson. The leader makes the bass sound authoritative, agile and tender whenever he plays unaccompanied - but it was his introduction to the encore, Dream of the Elders, that was his most eloquent statement of the night. Very tricksy postbop jazz at times, but music with enough muscle and heart to dispel any sense of jazzbo exclusivity.
The Dave Holland Octet play the Royal Concert Hall, Nottingham (0115-989 5555), tonight, then tours to Warwick, Leeds, Darlington and Manchester.
