01 Pathways
02 How's Never?
03 Sea of Marmara
04 Ebb and Flow
05 Blue Jean
06 Wind Dance
07 Shadow Dance

Musicians:
Dave Holland - bass
Antonio Hart - Alto Sax and
Flute
Chris Potter - Tenor Sax and Soprano Sax
Gary Smulyan - Baritone Sax
Alex "Sasha" Sipiagin - Trumpet & Flugelhorn
Robin Eubanks - Trombone
Steve Nelson - Vibraphone and Marimba
Nate Smith – drums

With five A-list horn players -- Chris Potter on tenor and soprano saxophones, Antonio Hart on alto sax and flute, Gary Smulyan on baritone sax, Alex Sipiagin on trumpet and flügelhorn, and Robin Eubanks on trombone -- on board, and anchoring supplied by Dave Holland's bass, Nate Smith's drums, and Steve Nelson's marimba and vibes, there's a lot of swing residing within these grooves. There is also empathy to spare. Pathways, recorded live at New York's Birdland and the first release by the Holland Octet, is tightly woven, devoid of bloat, and constantly in motion. Holland, in his multi-decade career, has worked within every conceivable format, and he smartly positions the octet precisely where it should be by definition, midway between the standard small-group configuration and the all-bases-covered grandness of a big band. The arrangements often seem larger than life while simultaneously feeling succinct, and every solo -- not the least of which are Holland's own masterful excursions -- is carefully considered and masterfully executed. The album's seven tracks are all written by bandmembers -- five by Holland, one each by Sipiagin and Potter -- and two of Holland's, "Shadow Dance" and "How's Never?" (both of which he's recorded before), are the longest of the show, allowing for multiple shifts in mood, tempo, and color. Holland uses those pieces, in particular, as launching pads for dynamic solo exhibits and inspired duets, but in the end it's not the dexterity of the individuals that impresses most, but rather the groupthink of the ensemble. ---Jeff Tamarkin, Rovi

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A1. Four Winds  6:33
A2. Q & A  8:32
A3. Conference of the Birds  4:34
B1. Interception  8:21
B2. Now Here (Nowhere)  4:33
B3. See-Saw  6:41

Sam Rivers- Flute, Reeds, Soprano Sax, Tenor Sax
Anthony Braxton- Flute, clarinet, Reeds, Soprano Sax, Alto Sax
Dave Holland- Bass
Barry Altschul- Marimba, Percussion

Dave Holland's debut as a leader, Conference of the Birds, doesn't seem to get its proper due outside of avant-garde circles; perhaps, when discussing the greats, Holland's name simply doesn't spring to mind as immediately. Whatever the case, Conference of the Birds is one of the all-time avant-garde jazz classics, incorporating a wide spectrum of '60s innovations. Part of the reason it works so well is the one-time-only team-up of two avant-garde legends: the fiery, passionate Sam Rivers and the cerebral Anthony Braxton; they complement and contrast one another in energizing fashion throughout. But much credit is due to Holland; make no mistake, even though he throws the spotlight to Rivers and Braxton, this is his date. The repertoire consists entirely of Holland originals, and his work here established him as easily the most advanced bassist/composer since Charles Mingus. His compositions show an impressive range: twisting, unpredictable themes accompanied by storming solos (the classic "Four Winds," "Interception"); free improvisation in group-dialogue form ("Q&A"); inside/outside avant-bop ("See Saw"); and surprisingly lovely, meditative flute showcases (the classic title track, "Now Here (Nowhere)"). No matter how free things get, Holland's pieces always set up logical frameworks with a clear-minded focus, which makes it easier to get a handle on the advanced musicianship of Holland's quartet (which also includes drummer Barry Altschul, who played in Chick Corea's Circle with Braxton and Holland). The absence of a piano frees up Rivers and Braxton to play off of one another, but the task of driving the ensemble then falls to Holland, and his prominent, muscular lines manage to really push his front line all by themselves. This album is a basic requirement for any avant-garde jazz collection, and it's also one of the most varied and accessible introductions to the style one could hope for. ---Steve Huey, Rovi

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1 	Prime Directive 	7:42
2 	Looking Up 	13:33
3 	Make Believe 	6:26
4 	A Seeking Spirit	11:21
5 	High Wire	6:47
6 	Jugglers Parade 	8:15
7 	Candlelight Vigil	4:51
8 	Wonders Never Cease	13:53
9 	Down Time 	3:52

Double Bass – Dave Holland
Drums – Billy Kilson
Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Chris Potter
Trombone, Cowbell – Robin Eubanks
Vibraphone, Marimba – Steve Nelson 

You may have to wait a while between Dave Holland-led releases, but it's always worth it. Tremendous taste prevents Holland from making unsatisfying music. He is a great leader in the truest senses of the word -- he gives his team space, trusts their abilities and judgment, yet all the while remains firmly in command and infuses the results with his own style and personality. Prime Directive is a wonderful jazz album. These 77 minutes and nine tracks do not cheat or disappoint. The straight-ahead tunes -- composed by double-bassist Holland and his talented band mates (one each) -- all bear Holland's distinctive rhythmic patterns and harmonics. A fine example is the title track, on which Robin Eubanks on trombone and Chris Potter on saxophones hold a stimulating musical conversation over the rhythm section's driving groove. For listeners who prefer a more deliberate pace, there's the searching, contemplative "Make Believe," with Steve Nelson's lovely vibraphone work appointing the mood. On the hopeful, "A Seeking Spirit," fans will be tapping along to the rhythmic feast offered up by the leader and his pace-setting partner Billy Kilson on drums. The melancholy "Candlelight Vigil" presents Holland at his bowed best. Finally, "Wonders Never Cease" finds the entire band at the height of their collective, improvisational prowess. Prime Directive is recommended; a great leader is, indeed, hard to find. ---Brian Bartolini, AllMusic Review

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