Dave Holland

Bitches Brew

Miles Davis · 1970

In a Silent Way

Miles Davis · 1969

Miles's 1969–70 studio experiments fused rock's rhythmic sensibility with jazz improvisation. Bitches BrewBitches BrewMiles Davis · 1970 layered McLaughlinJohn McLaughlinジョン・マクラフリン, CoreaChick Coreaチック・コリア, HancockHerbie Hancockハービー・ハンコック, and others in simultaneous collective improvisation.

Bitches Brew

Miles Davis · 1970

Miles DavisMiles Davisマイルス・デイヴィス gathered over twenty musicians in August 1969 and, paired with Teo Macero's tape editing, transformed jazz from "recorded performance" to "constructed recording." Bitches BrewBitches BrewMiles Davis · 1970 launched jazz-rock fusion.

— So What: The Life of Miles Davis, John Szwed, 2002

Yussef DayesYussef Dayesユセフ・デイズ performs the title track of his debut solo album 'Black Classical Music' on BBC's Later... with Jools Dave HollandDave Hollandデイヴ・ホランド.

— Yussef Dayes - 'Black Classical Music' | Later... with Jools Holland, 2023

July 9, 1990, Jazz à Vienne. The Parallel Realities tour — Herbie HancockHerbie Hancockハービー・ハンコック (piano), Pat MethenyPat Methenyパット・メセニー (guitar), Jack DeJohnetteJack DeJohnetteジャック・ディジョネット (drums), Dave HollandDave Hollandデイヴ・ホランド (bass). A miraculous meeting of four musicians each at a peak in their careers.

— Jazz à Vienne, 1990

August 10, 2002, Newport Jazz Festival. Dave HollandDave Hollandデイヴ・ホランド Quintet. Official Music Vault recording. Dave HollandDave Hollandデイヴ・ホランド had by then fully established his own sound through his ECM work and his quintet.

— Newport Jazz Festival, 2002

Underground

Chris Potter · 2006

Chris PotterChris Potterクリス・ポッター plays tenor, soprano, alto, bass clarinet, flute, and guitar. After years with Dave HollandDave Hollandデイヴ・ホランド's bands, he leads his own groups — UndergroundUndergroundChris Potter · 2006 and Circuits — that place him at the forefront of contemporary jazz.

— Chris Potter (jazz saxophonist), Wikipedia, 2024

Live-Evil

Miles Davis · 1971

Bitches Brew

Miles Davis · 1970

In a Silent Way

Miles Davis · 1969

Joe Farrell Quartet

Joe Farrell Quartet · 1970

Just as Bitches Brew (1970) pushed Miles Davis's electric music to its peak, his own rhythm players Chick Corea and Dave Holland walked out — turning an off-hours trio into Circle, a free, near-atonal group, rather than chasing the fusion market.

— Statement stmt-dave-holland-on-chick-corea

Live-Evil

Miles Davis · 1971

Bitches Brew

Miles Davis · 1970

In a Silent Way

Miles Davis · 1969

Joe Farrell Quartet

Joe Farrell Quartet · 1970

Dave Holland and Chick Corea, who had played on Bitches Brew, walked out of Miles Davis's band at its peak. 'Dave and I could both see Miles wanted to go a different rhythmic way,' Corea said — and the way they went was not more electric fusion but the free-improv group Circle.

— Statement stmt-chick-corea-on-dave-holland

Bitches Brew

Miles Davis · 1970

Gateway

Gateway · 1975

Extensions

Dave Holland · 1989

Prime Directive

Dave Holland · 1999

Dave Holland was an unknown young bassist playing London clubs in 1968 when Miles Davis heard him and invited him on the spot. Within days Holland had moved to New York to join the band, and by 1970 he was on Bitches Brew — one of the most influential sessions in jazz history.

Live-Evil

Miles Davis · 1971

Bitches Brew

Miles Davis · 1970

Black Is The Color

Joe Henderson · 1972

Tales from the Hudson

Michael Brecker · 1996

Dave Holland and Jack DeJohnette first played together at a 1967 jam session in London, where Holland says it felt complete from the very first beat. Three years later both names sit in the credits of Bitches Brew (1970). The pairing was not assembled in a New York studio; it had already clicked on the other side of the Atlantic.

— Statement stmt-dave-holland-on-jack-dejohnette

Live-Evil

Miles Davis · 1971

Bitches Brew

Miles Davis · 1970

Black Is The Color

Joe Henderson · 1972

Tales from the Hudson

Michael Brecker · 1996

Drummer Jack DeJohnette, who played in Miles Davis's early-1970s electric bands alongside Chick Corea and Dave Holland, once said their improvising would go to "totally ecstatic" places — until Miles stepped back in and pulled everything back to a single center. The band's apparent freedom, in other words, actually orbited Miles himself.

— Statement stmt-jack-dejohnette-on-chick-corea

Live-Evil

Miles Davis · 1971

Bitches Brew

Miles Davis · 1970

Black Is The Color

Joe Henderson · 1972

Tales from the Hudson

Michael Brecker · 1996

Don Alias was brought to Bitches Brew (1970) as a percussionist, but on "Miles Runs the Voodoo Down" he is the one at the drum kit — the New Orleans-flavored beat was his idea, and the leader told him to play it himself.

— Statement stmt-jack-dejohnette-on-don-alias

From the very first time we played, from the very first beat, it just felt perfect, it just felt like we knew how to play with each other.

Recalling first playing with Jack DeJohnette at a late-night London jam session in 1967.

He was a unique genius, a master improviser, 100% original composer but an original that had come through the most incredible tradition of the music and kept moving forward, just as Miles Davis did.

Answering a question about whether jazz has lost its great personalities, describing Wayne Shorter.

I was just trying to realise Miles Davis' vision for what he wanted to do, as we all were and that was primarily in my mind when we did the recording.

Asked whether he anticipated the impact of Bitches Brew while recording it.

Miles had directions that he was looking to move in. But he looked very much into the musicians to fill in those spaces.

Describing how Miles Davis led his band during Holland's two years in the group.

I'd started on a project with Chick Corea and Barry Altschul. We'd been playing as a trio at times when Miles wasn't working.

Explaining how leaving Miles Davis led to the trio that became Circle when Anthony Braxton joined.

I think playing with Miles, with Dave Holland, Chick Corea and Wayne was a very exciting period. We always couldn't wait to get on the bandstand to see what kind of mischief we could get into.

Recalling his two-to-three years in the Miles Davis band, 1968-70.

We also played together on Herbie's New Standards, that was a great recording which featured Michael Brecker, John Scofield, Dave Holland, myself and Don Alias.

Listing his work with percussionist Don Alias, including Herbie Hancock's The New Standard (1995).

We share decades of common references musically. The similarities and differences in our approaches make for a more interesting collaboration, I think.

On the making of Memories of Home, his duo album with bassist Dave Holland.

Jazz Guitar Today

Guitarist John Scofield Talks About Memories Of Home

2025-11-11

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When Dave and I saw that Miles was wanting to go in a different direction rhythmically and so forth, there was the parting of the ways.

Corea on why he and Dave Holland left Miles Davis, which led to the free-improvisation group Circle.

Chick and Dave would go to a lot of frenetic places. Then, when Miles came back, everything would galvanize, come back to a center.

DeJohnette on how Corea and Holland ranged wildly on the bandstand until Miles returned and pulled the music back to a center.