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Your Learning Zone - Pass It On
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List Price: $14.98
Our Price: $9.90
Your Save: $ 5.08 ( 34% )
Availability: Usually ships in 24 hours
Manufacturer: Emarcy / Pgd
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Average Customer Rating:  
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Binding: Audio CD
EAN: 0600753106679
Label: Emarcy / Pgd
Manufacturer: Emarcy / Pgd
Number Of Discs: 1
Publisher: Emarcy / Pgd
Release Date: 2008-09-23
Studio: Emarcy / Pgd
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Spotlight customer reviews:
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Customer Rating: 
Summary: Its great to hear alternative versions of these songs but...
Comment: ...but, I think that this is a weaker group than other groups
of Dave Holland. Background : I am a jazz guitarist and extremely
interested in living jazz composers and consider Holland to be one
of the best (along with Chick Corea and John Scofield(!)). I own
all the quintet CDs and a bunch of his prior outings (recordings
with John Abercrombie, Extensions, and the recordings with Steve
Coleman and Marvin Smith). So I am familiar with the compositions
and hearing them in a new setting is a real treat.
However, I think alto saxophonist Antonio Hart is a bit weak,
as is trumpeter Alex "Sasha" Sipiagin. Perhaps they are just "young"
and someday we'll look back on this recording and see some early
signs of genius, but Hart in particular sounds a bit insipid for
Hollands music (of course, I'm comparing him to Potter, Steve Coleman,
Julian Priestly and Anthony Braxton).
Mulgrew Miller is pleasant, and Hollands use of piano is similar to
Steve Nelsons role in the Quintet (and to be critical, I find Nelson
to be a stronger, more mature player). There is a real nice arranging
device in one piece where the piano doubles the saxophone melody
while the brass play backgrounds.
Eric Harland is a fresh voice, and has a good modern drummer vibe.
All in all, a pleasant listen, Hollands compositions and arrangements
are always great, but I find it is rounding out the collection and not
as necessary a purchase as the Quintet or Big Band recordings (or even
some earlier trio and quartet recordings).
Customer Rating:
Summary: Mo Better Jazz
Comment: Once again Dave Holland and Crew adapt, adjust and improvise exquisitely and improvisationally. This is a great album to buy if just for the tune Equality. Soothing and energizing music for the long haul. If you want to get through the current economic crisis with a positive attitude adjustment I recommend it highly. - Vincent
Customer Rating:
Summary: Instant Classic
Comment: Dave Holland's Quintet has been one of the best working jazz bands over the last decade, plus. They have contributed classics like EXTENDED PLAY:LIVE AT BIRDLAND (one of the all time great live jazz recordings), PRIME DIRECTIVE and CRITICLA MASS. Here Holland mixes things up and comes back with a sextet that changes up the lineup, without sacrificing his high standard of quality. As usual the interplay between musicians is on a high plain. It's interesting hearing Mulgrew Miller's fine piano in place of Steve Nelson's always inventive vibes. Lone holdover from the Quintet, Robin Eubanks, shines as always on trombone. Standout tracks include THE SUM OF ALL PARTS, LAZY SNAKE and PASS IT ON. Very highly recommended to music lovers, jazz fans and especially fans of Holland's previous work.
Customer Rating:
Summary: Really, dont pass it on
Comment: This album is just stellar, and I really mean stellar. It could not have turned out better. Long time fans of Dave will not in any way be disapointed. Newcomers will find deep and interesting while still being wholly accessible. Just great.
This is a slightly different band from last time round. Trombonist Robin Eubanks is still there (and just as smoking as always. Really, how does he do that stuff?), but most everyone else is different. Instead of Steve Nelson on Vibes with the jazz giant Mulgrew Miller who is in fine form. Drum prodigy Eric Garland takes over for Nate Smith (Eric as well is just spectacular in general) and Alto saxophone player takes over for the (primarily) tenor player Chris Potter. This was one area that worried me somewhat when I first heard of this album. Chris Potter was a staple of all of Holland's bands, big and small, for many years, and he is by far one of the most gifted sax players on the scene today. The thought of a Holland album without him seemed like almost like blasphemy to me. That having been said, although I may still prefer Potter in general, Hart is a monster of a player and I would struggle to find fault with his laying anywhere here. Just great. Augment the band is trumpet player Alex "Sasha" Sipiagin. The new band works great together. I particular approve of the addition of Mulgrew Miller. Although the vibraphone quintet setup worked for Holland in the past, its really hard to make up for what Miller brings to the mix.
I have written a few reviews before and usually I use a paragraph to talk about a few songs that I particularly liked on the album. I'm not going to do that here, because I cant think of what songs to talk about. Holland (who wrote all of the songs except for the first track) has really hit a groove in terms of writing it seems. Whereas in "Critical Mass" (his last album) I found one or two tracks easily stood above the rest, this album does not have any weak points. The tracks are varied in style, but all incredibly solid. Although some of them sound a bit more standard than last time round, they are perfect vehicles for improvisation on the part of the band members and never sound out of place. Some are more upbeat, some more somber, but they are all excellent and taken as a whole, the result is spectacular.
I cannot recommend this album enough to fans of modern hard-bop. This is probably the best example we will get this year. In overall quality I think it is only surpassed by Charles Lloyd's "Rabo de Nube" for best of this year, though I might classify them slightly differently. Either way, you will not be disappointed by this.
Customer Rating:
Summary: Wonderful Stuff!
Comment: Man, have I been enjoying this CD! The front line of trombone, trumpet, and alto sax just sounds so different after listening to Dave's usual quintet lineup over the years. I also enjoy the addition of Mulgrew Miller on piano. The tunes are uniformly excellent. Even though this music sounds more tightly orchestrated compared to Holland's past quintet offerings, it is still extremely enjoyable. The interplay between the musicians is great and everyone gets the chance to stretch out over the course of the CD. When the disc ends, I just want to hear it again. It's not leaving my CD player anytime soon!
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Editorial Reviews:
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Pass It On features newly-realized arrangements of some potent Holland compositions from past recordings, including "Lazy Snake" and "Equality" (from 1995's Dream of the Elders), the uptempo burner "Double Vision" (from 1984's Seeds of Time), the dynamic, mood-shifting suite "Rivers Run" (written for Dave's former duets partner from the mid-'70s, saxophonist Sam Rivers, and originally appearing on 1988's Triplicate), "Processional" (from 1989's Extensions) and "Modern Times" (from the 1995 Gateway recording, Homecoming). "Some of the compositions that I've written in the past evolve in my mind a little bit over time," says Holland, who is perhaps the most prolific bassist-composer since Charles Mingus. "When we first recorded some of these pieces, they were done in more stripped-down versions with different instrumentation, and I was starting to hear them as being possible for a larger ensemble. One of the advantages of the sextet is that it's still a smaller unit than big band or octet but it also gives you a lot of options in terms of orchestrating and utilizing backgrounds, either from the three horns or if one of the horns is soloing, from the other two horns. So I thought that was a good way to fill out these old compositions and expand on them a little bit where something new could happen. And, of course, this group of people brings some new creative ideas to the pieces." In addition to reinventing those previously recorded pieces, Holland also introduces two new compositions in the buoyant swinger "Fast Track" (based on the chord changes to George Gershwin's "The Man I Love") and the spirited, gospel-tinged title track which carries the kind of jubilant, uplifting feel inherent in the music of the Brotherhood of the Breath led by the South African-born Scottish musician Chris McGregor, an important mentor for Holland in the early part of his career. Eubanks also contributes the stirring, African-flavored opening track, "The Sum of All Parts." Says Holland, "I'm a big fan of Robin's compositions. I've featured him pretty much on every CD that I've done since 1987 and he's been a great asset, not just as a trombonist but as a composer." While Holland has eschewed piano with his long-standing quintet (featuring trombonist Eubanks, saxophonist Chris Potter, vibraphonist Steve Nelson, and drummer Nate Smith), he revels in the beautiful voicings and refined touch that pianist Miller brings to the sextet on Pass It On. "Of course, I have played with a lot of pianists over the years, including Hank Jones, Herbie Hancock, and others, but in my own projects I never really conceptualized a group with piano. Mulgrew certainly is within that tradition of great accompanists as well as being a wonderfully original soloist. He is such a rich and deeply-rooted musician in the great tradition of the piano but, of course, is always forward-thinking and forward-moving in his conception. What he brings to the ensemble is something that I'm always looking for, which is that dialogue and communication and interaction between the rhythm section and the horns when they're soloing. So Mulgrew was really the ideal pianist for me. It was a very great honor for me to have him involved in this music." Harland's ability to engage in dialogue with the rest of the musicians throughout the course of a given piece comes directly out of the great tradition of such highly interactive drummers as Roy Haynes, Tony Williams, and Jack DeJohnette, all of whom Holland has played and recorded with. "What Eric does is totally in touch with what's going on in the music and in touch with what I'm playing," says Dave. "Within the group there's always a dialogue going on within the rhythm section. I love that kind of thing. I love the sparring and the back and forth. For me, that's what it's all about. It's not just about a background rhythm section that's just laying down a sort of generic pad for soloists to play on. I like it to be a true conversation where the soloists get really inside the rhythm section."
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