Emerald Tears

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Solo bass recordings are rare today, but they were far rarer in 1977, when Dave Holland undertook Emerald Tears, building on a tradition of jazz virtuosos that included Charles Mingus, Paul Chambers, and Scott LaFaro. Holland had already accumulated impressive credentials with Miles Davis's electric band and a host of leading avant-garde figures like Anthony Braxton and Sam Rivers, and this is a striking example of his musicality, as well as his bass chops. There's even something self-effacing in Holland's masterly technique. His articulation is so clean, his notes so precise, and his tone so round and solid, that he consistently gives the impression this might not be that difficult.

Holland goes about the business of making whole music. There are original ballads like "Emerald Tears" and "Under Redwood," in which he develops smoothly melodic improvisations, shaping and coloring his phrases with expressive bends. "Spheres" and "Hooveling" are medium-tempo originals that launch developed pizzicato improvisations, while "Combinations" is a sustained bowed piece played with cellolike facility. "Flurries" takes in Holland's experimental side; it's a complex piece that mixes pointillist leaps, drumming with the bow, and high, whistling harmonics. Davis's "Solar" is a tour de force of solo bop bass with some astonishing double-time passages; Braxton's "B-40/RS-4-W/M23-6-K" combines genuine swing with unpredictable phrase lengths and note choices. Though the bass palette may be limited, Holland sustains interest throughout. --Stuart Broomer

Emerald Tears,Dave Holland,Ecm Records,Jazz,Pop

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