Review of the Dave Holland Sextet

Their first time playing in New York since the September release of their album Pass It On (Emarcy), the Dave Holland Sextet appeared at Birdland last week. The late set on Friday, the 10th was close to the end of their four-day run, and the band was well warmed up by the time they took the stage.

The set started off at a simmer, and quickly built energy during the opening tune, growing to a rapid boil thanks to Holland’s trusty method of additive collective improvisation. Holland began, joined one at a time by the rest of the group until the effect on stage was that of many simultaneous conversations taking place. Soon the din subsided as Alex (Sasha) Sipiagin carried the melody on flugel horn, with trombonist Robin Eubanks and alto saxophonist Antonio Hart backing him with weaving counter lines.

The sound of the Sextet has a lot in common with Holland’s quintet and big band. The veteran bassist’s compositions invariably make use of asymmetrical meters, heavy grooves, and interlacing counterpoint. However, the use of trombone, trumpet, and alto saxophone gives the sextet a lean yet colorful sound, expansive for a small group. Pianist Mulgrew Miller adds warmth that isn’t present in the quintet, in which vibraphonist Steve Nelson provides the accompaniment. Eric Harland is capable of explosiveness, but he uses it sparingly, preferring to suggest the groove rather than inflict it.

Each soloist’s approach was apparent immediately and consistent throughout the night. Holland expertly navigated the meter changes, making full use of their inherent tension and unpredictable resolution. His solos were riveting, a rarity for a bassist.

Sipiagin demonstrated agility of a fiery nature, creating lines that reached into the trumpet’s high register. However alluring his tone and technique, his playing was diffuse, and he was unable to create a hearty interplay with the rhythm section. The same could be said for Eubanks, whose signature approach is still impressive, complete with growls and angular, percussive lines.

Contrasting the brass solos was the poignant and soulful playing of Hart and Miller. Hart’s mix of exaggerated bent notes, lyrical vibrato, and darting intervallic passages were unfailingly rousing, and Miller’s restrained harmonic gestures glimmered. Harland made sure to get in the last word, however, on hair-raising extended solo on the final tune, “Double Vision.”

The sextet, which came across as rather flat on Pass It On, was tight and spirited at Birdland, a reminder that Holland invariably knows how to deliver in performance.