Dave Holland's Prism Comes to Cambridge

On Feb. 13, I joined a large crowd on the third floor of the Charles Hotel. Here at the Regattabar, a world-class jazz club, we waited for the 10 p.m. set by Dave Holland's newest ensemble, “Prism.” Led by Holland, a living legend on the stand-up bass, the ensemble features keyboardist Craig Taborn, guitarist Kevin Eubanks, and drummer Eric Harland.

The audience's excitement was apparent from the beginning. “I've seen the drummer before and heard some of Dave Holland's recordings, which were lovely,” said Carol. Alim, a guitarist at my table, told me, “I like his work with Miles Davis. That was a very special group.” While Holland first gained recognition with Davis in the late 1960s, he continues to lead a professional career that spans five decades.

After touring for two years and recording nine albums, Holland left Miles Davis' band. Over the decades he has performed with such luminaries as Chick Corea, Jack DeJohnette, Betty Carter, and Pat Metheny. In addition, “Prism” is his 20th album release as a leader. Of the other members, Eubanks led “The Tonight Show” band for 15 years, Taborn has recorded on over 70 albums as a sideman, and Harland garnered the excitement of every audience member I interviewed.

Herbie Hancock's impromptu arrival marked the peak of the audience's excitement. All eyes, some in disbelief, turned toward him as he entered. He greeted each of the band members with a hug before sitting down at a table amongst the rest of us. If Herbie, still in town after delivering his second Norton lecture, was excited to see Prism, we knew we were in for a worthwhile show. Consisting of four extended takes on original compositions, this set took the audience on quite the expressive journey. However, performing at a live venue granted the musicians a new sort of freedom. Improvisations stretched out over much longer periods of time as each musician developed the story he wished to tell.

Although many would simply label this group as “jazz,” the musical versatility of Dave Holland's “Prism" transcends any one label. “The Winding Way,” a Holland composition, slowly grew as Eubanks' guitar notes wound across the room before culminating in epic fashion with an explosive drum solo. At these moments, the show verged on the experimental as the group demonstrated the kind of “modern jazz” that one might expect from leading contemporary musicians. Contrastingly, their third tune, “The Empty Chair,” brought everyone to a much more familiar musical setting, featuring bluesy guitar and bass solos over a relaxed vibe.

Mr. Holland's decision to include this laid-back chart taught an important lesson. While his group may be known for erupting into complex grooves over obscure rhythms and odd-metered tempos, a return to the simple realm of the blues proved to be just as expressive. During each of their solos, Eubanks and Holland shut their eyes, deep in concentration, and one could sense their inner feelings flying out in each note.

The blues piece's contrast with the other three original tunes was reminiscent of Herbie Hancock's teachings. In his most recent Norton Lecture, he described his musical approach as “layering.” From the Miles Davis Quintet to his album “Head Hunters,” each style of music has formed a new layer in his musical experience. Holland has also adopted this approach; as he and Eubanks continued to tear it up, “blueing" notes over a progression that everyone recognized, they called upon past layers of music to complement the show’s more innovative work.

Through his performance, Dave Holland reminded the audience that music is a lifelong pursuit of endless possibilities. Almost 70 years old, he continues to push his boundaries by touring with some of the foremost younger players on the scene. After a 50-year career, “Prism” allows him to continue experimenting with the music he has mastered, introducing the world to new and innovative ways to play jazz.