Prism

Who knew that fusion was in the past of DH? I surely didn't - but, in this CD he re-sets the fusion bar (without any lose of jazzy development) in a way (both harmonic and instrumentally) that was never done previously byt his fusionisnta fore bearers (here I mean Weather Report, Chick Corea, or even the Bitches Brewer, himself - which did include, unbeknownst to me, Mr DH). DH, and ensemble (who knew Kevin Eubanks could get down like that? - certainly not I, from his stints on late night TV) go where no fusion band has gone before - and reach new heights, sounds, intensity -while coasting along neatly on a melange of textured rhythmic and harmonic adventures; while emanating and transcending from the pentatonic regions of Guitar-shrederosity, this CD goes way beyond, in melody, texture and harmonic explorations, than any other prior (fusion) ensemble, so keyed by six string slinger-ism. Moments of transcendence and musical apotheosis evolve through complex rhythmic interactions and the tunes develop and expand both within and from a strong driving rhythmic component (but hey, I've never been disappointed by Eric Harland's drumming, ever, whether with the Oakland Symphony or local jazz chantreuse - and he continues to power this ensemble thoroughly, with elegance...for my taste, yeah, you better beware, Mr Baker - EH has it all here). And so do his compatriots in sound - there are several adventurous forays on the keyboard that remain within and support so well the whole context of the effort - truely a remarkable ensemble excursion. I would have love to be in the room when this was going down. surprisingly DH seems to take a back seat, but his drive and power both motor and anchor the whole darn effort - kudos to him for this adventurous musical path, bringing together these monster players. For me, album of the year, if not yet, then eventually...for all you jazz guitarists ( and also for all you rock/roll jam banders) this is the CD to check out - the bar has now been thoroughly raised - and the bounderies completely sundered between Beckism and Bensonism - where tone, technique and musicality coincide, without trampling over each other, in this delightful, ear opening expedition to and through the frontiers of sonic space - without ever loosing sight of groove, power, harmonic potential and implication. Perhaps this may be a reach for those of the cool jazz disposition, but put it on for a spin, sit back and let it work/rock you a bit. I think you will be surprised by where it goes, and how you end up....

Prism is far better than a conventional super band. Every time you hear this album, you’ll find a fresh throbs in it. They are reported to have performed first rehearsal in June 2012 and subsequent premiere at Ottawa before the release. Now they are said to be planning a follow-up disc and tours throughout 2014, which I’m expecting to hear. The band has various possibility to branch into other types of music than just the traditional jazz, which would result in opening up gate to other things and bringing more people into jazz, or progressive music. All four members are in the band. The band follows a egalitarian principle. Each member contributes two or three compositions to the album. The ten tracks are varied, but engaging, and most of all are energetic. Dave Holland keeps sending vivid pulse to the music, while Eric Harland propels pulverizing strokes. Craig Taborn’s understanding of music is pretty stunning, from pops to classics and everything in between, brings a great sense of spontaneity to the band. Kevin Eubanks plays with stinging, slashing power. His distorted tones and loosened percussive sounds adds peculiar tinge to the music.Attention grabbing opening track, Kevin’s “The Watcher,” has a low-key rock drive. The world created by distorted guitar sounds gives us an illusion of another RTF’s galaxy. “The Empty Chair” is dedicated to Dave’s late wife, Clare. Loss of his former colleague, Mulgrew Miller, is also frames the piece. Dave’s bluesy deep emotional bass solo follows after Kevin’s distorted guitar sounds. Craig’s “Spirals” readies for a certain space to suggest a lot of different things. Eric’s “Choir” moves on the way harmonic progressions modulates in classic gospel. Kevin creates organ like sounds here. Kevin’s “The Color Of Iris” offers Pat Metheny like world. His guitar sings lyrically. Dave focuses on moving forward in “A New Day.” Bass solo triggers Craig’s “The Meaning Of Determination.” Unison by piano and loose guitar sounds presents unique effect into the music. The closing part of Kevin’s “Evolution” reminds me of a Japanese festival music. Eric’s “Breathe” suggests the birth of lives. Kevin’s horn like guitar sounds idyllic. The album closes with forward looking “The Winding Way” by Dave.

anything after a while gets old, so i guess it was time for holland to try something new. like the legendary quintet led by miles davis, of shorter, hancock, williams and carter, holland’s quintet, of potter, robin eubank, steve nelson and nate smith, had dug a niche and i had hoped they would stay there a little longer, but not to be.the new sound, in quartet form, has eric harland on drums, kevin eubank on guitar, is blues based funk branching from the 70s when electric guitars and keyboards entered jazz. on fender rhodes, craig taborn gets a chance to be retro—too young to have played with miles, following holland’s bass, he can imagine what that experience might have been like. the craig taborn familiar to his fans solos on piano on the cut, spirals, off vibrations resonating so strong from holland’s bass that it took a while to realize what taborn was doing, playing the kind of jazz that only a fan of pure improvisational jazz could appreciate.i get the impression that holland is moving toward a jazz sound loose enough to blend any style, however disparate, and it seems that his prism is made of the music he played with miles davis mixed with a bit of smooth jazz, and the colors of other jazz styles refracted from the light are like the colors of a rainbow, pretty but lacking deep vibrancy.

‘Prism’ is a powerhouse fusion record from 2013. It veers from rocking thickly textured ensemble work like the Mahavishnu Orchestra used to pump out in their prime, to delicate little keyboard filigrees that enchant with their wispy melodiousness. It’s a highly varied menu, but the accent is on rock with jazz and other influences attached, rather than jazz with a hint of something more direct and primeval. The writing, production and performance as other observers have noted is pretty ace. Particularly pleasing is the ‘tightness’ of the whole thing: this approach manifests itself in the way that the tunes are structured and melodic, and solos seldom if ever, outstay their welcome. I rather like the loping blues of ‘The Empty Chair’ (Dave Holland’s acoustic bass is beautiful here), the ominous ‘The Color of Iris’ and the reflective ‘Breathe’. Other listeners will have different preferences I’m sure, but they will agree no doubt about the great musical experience that this album has to offer.My only slight criticism is that guitarist Kevin Eubanks, great player though he is, does tend to dominate on occasion and his tone is somewhat drenched in fuzz effects ( and Lord knows what else!), obscuring what are no doubt worthwhile contributions.Overall, mild carping aside, this is a great album.

You know when you go for a walk in the countryside, and when you return home there's that lovely satisfied feeling? You're charged with natural energy and satiated at the same time. That's what this album does for me. It's full of paradoxes and in this way gives you a full spectrum of feelings and musical energies, leaving you with that complete sense of contentment. It's a whole work, there seems to be nothing missing. You're taken on a journey from hard-as-nails funk, 'metal' jazz through to delicate, introspective melancholy reveries. It feels like a pinnacle of contemporary jazz that simultaneously harks back to the best of the 70s-90s eras yet pushes the frontiers into new territory. Musicianship is awesome, and the relationship that each has with the others is awesome. I'm currently being blasted off my feet by the drumming, however each new listen draws the ear to the merits of all the players: too much to talk about, and no doubt bore any reader to death! Got to be a landmark album. Just buy it.

Have started to by his solo work after listening to him with Davis. The best british jazz musician?

This is Jazz rock at its very best. Harland and Holland are really puttung it down. Kevin Eubanks is on top form. I for one love the electric guitar sound. Maybe a few old-time "leave it alone" guys will not get it, but just give it a try.

Dave Holland - excellent - makes everything around him work and yet sounds effortless. Heard this band at Love Supreme Festival this year.