Dave Holland - Extensions (ECM, 1990)

This post is by Dan

Dave Holland (b); Steve Coleman (as); Kevin Eubanks (g); Marvin "Smitty" Smith (d)

Recorded September, 1989

I remember the mixed reviews that Dave Holland's Extensions received when first released. Reviewer Graham Lock in Wire raved: "Yes, Yes, yes, yes, yes. When a record is as good as this, what else is there to say?" (Wire, Nov. 1989, p. 55). Lock also refers to Holland's "aerated beat that allows the music to jump and jolt with elastic charm." High praise indeed. 

The Penguin Guide editors did not agree. They wrote: "Eubanks is untameable and Smith can be ruthlessly self-indulgent. Poor Old Holland found himself out of things at his own party" (The Penguin Guide to Jazz on CD, 6th ed., 1992, p. 734).

Part of the reason for the mixed reviews was the presence of guitarist Kevin Eubanks, brother of Robin Eubanks (who later became a regular in the Dave Holland Quintet). Since Kevin was typed as a smooth jazz/fusion guitarist, and was the first electric instrument in Holland's groups, ECM followers may have underestimated his contributions. His popularity may also have skewed critical judgment. 

In my opinion, that would be unfair. If anything, Eubanks may have paved the way for electric guitarists to break free from the model laid down by Kenny Burrell, early Grant Green, and Joe Pass. Eubanks' funky solos on Extensions would be uncontroversial in today's jazz, in which players like John Scofield, Bill Frisell, Nels Cline, Julian Lage, and other contemporary stars exploit the full range of their axes.                                                                                      

Eubanks not only plays great guitar on Extensions, but also composed two pieces including the opening "Nemesis," which for me sets the mood for a beautifully balanced record. It fades in over Holland's bouncy vamp as Steve Colemen enters on alto. There's no doubting Coleman's lyricism or his dependable presence in Holland's various groups. He contributes one tune to the program: "Black Hole." Holland's "The Oracle" also appears here in one of its better renditions. 

Returning to the mixed reviews, I admire all of the respective reviewers and have discovered marvelous music based on their critical insights. Conflicting reviews stimulate greater interest in a recording, as I try to settle the dispute with my own ears. My resolution is to consider Extensions a personal favorite, one that brings enjoyment each time I play it.