Dave Holland Musikalische Biografie

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Dave Holland Musikalische Biografie DAVE HOLLAND MUSIKALISCHE BIOGRAFIE Eine jazzhistorische und analytische Perspektive Dissertation zur Erlangung des akademischen Grades Doctor philosophiae (Dr. phil.) am Institut für Jazzforschung der Universität für Musik und darstellende Kunst Graz Vorgelegt von Mag. phil. Bettina Schöberl Lanzenkirchen, August 2016 Betreuer: em.O.Univ.Prof. Dr.phil. Franz Kerschbaumer, KUG Graz Inhaltsverzeichnis Vorwort ...................................................................................................................................... 3 Danksagung ................................................................................................................................ 4 1. Einleitung ........................................................................................................................... 5 1.1. Ziel und Methodik ....................................................................................................... 5 1.2. Anmerkung zu den Notenbeispielen ............................................................................ 6 2. Der musikalische Beginn (1946 – 1964) ............................................................................ 7 3. London – vom Traditional Jazz über Bebop und Hard Bop zum Free Jazz (1964 – 1968)….11 4. New York: Miles Davis (Fusion 1968 – 1970) ................................................................ 15 4.1. Musikalischer Stil und analytische Betrachtungen .................................................... 26 4.1.1. Miles Davis – „Filles De Kilimanjaro” ............................................................ 26 4.1.2. Miles Davis - „Water Babies” .......................................................................... 27 4.1.3. Miles Davis – „Directions” ............................................................................... 28 4.1.4. Miles Davis – „The Complete In A Silent Way Sessions” ............................... 29 4.1.5. Miles Davis – „Bitches Brew” .......................................................................... 31 5. Sideman in anderen Fusion-Formationen ........................................................................ 38 6. Free Jazz (ab 1969) .......................................................................................................... 39 6.1. Die Gruppe Circle ...................................................................................................... 39 6.2. Sideman in verschiedenen Free Jazz-Formationen ................................................... 43 6.3. Die Zusammenarbeit mit Anthony Braxton, Sam Rivers und Karl Berger (1972-1978) 45 7. Das Trio „Gateway“ (1975 – 2012) ................................................................................. 51 7.1. Musikalischer Stil und Analysen ............................................................................... 53 8. Seine Arbeit als Sideman ab 1972.................................................................................... 60 9. Die Auseinandersetzung mit Folk und Pop ...................................................................... 64 10. Schaffen als Bandleader, Komponist und Arrangeur (1972 - 2010) ................................ 66 10.1. Aufnahmen ................................................................................................................ 66 10.2. Musikalischer Stil und Analysen (1972 – 2010) ....................................................... 78 10.2.1. „Conference Of The Birds” (ECM 829373-2) ................................................. 78 10.2.2. „Jumpin’ In” (ECM Stereo 817 437-2 y) ......................................................... 82 10.2.3. „The Razor’s Edge“ (ECM (G) 1353 /7 833048-2) ......................................... 85 10.2.4. „Triplicate“ (ECM Records 1373 422837113-2) ............................................. 87 10.2.5. „Extension” (ECM 1410, 841778-2) ................................................................ 90 10.2.6. „Ones All” (Intuition 2148 2) ........................................................................... 90 10.2.7. „Dream Of The Elders” (ECM Records CD 073145290842) .......................... 93 10.2.8. „Points Of View” (ECM 073145570202) ........................................................ 96 10.2.9. „Prime Directive” (ECM CD 073145479502) ................................................. 97 10.2.10. „Not For Nothin’” (ECM CD 004400140042) ............................................... 100 1 10.2.11. „Critical Mass” (Dare2records 0602498422168) ........................................... 101 10.2.12. „Pass It On” (Dare2records 0600753106679) ................................................ 102 11. Pädagogische Tätigkeiten ............................................................................................... 104 12. Dave Holland Big Band: Arrangier- und Kompositionstätigkeit ................................... 107 12.1. Musikalischer Stil und Analysen ............................................................................. 111 12.1.1. „What Goes Around” (ECM 1777 014 002-2) ............................................... 111 12.1.2. „Overtime” (Dare2records 2005) ................................................................... 127 13. Seine Arbeit als Sideman (ab 1982) ............................................................................... 130 14. Projekte mit Jack DeJohnette ......................................................................................... 139 14.1. Herbie Hancock und Pat Metheney ......................................................................... 141 15. Indische Musik und Flamenco ....................................................................................... 145 16. Ausblick auf die Jahre 2011 - 2016 ................................................................................ 147 17. Labels ............................................................................................................................. 149 17.1. ECM – Edition of Contemporary Music (1971 – 2004) .......................................... 149 17.2. Dare2records (ab 2004) ........................................................................................... 150 18. Zusammenfassung .......................................................................................................... 152 19. Anhang ........................................................................................................................... 157 19.1. Verzeichnis der Notenbeispiele ............................................................................... 157 19.2. Kompositionsverzeichnis (Archiv der Autorin) ...................................................... 161 19.2.1. Leadsheets / Arrangements ............................................................................. 161 19.2.2. Big Band Arrangements ................................................................................. 161 19.3. Abbildungsverzeichnis ............................................................................................ 162 19.4. Zeittafel .................................................................................................................... 164 19.5. Musikerverzeichnis .................................................................................................. 165 19.6. Literaturverzeichnis ................................................................................................. 170 19.7. Diskografie und Konzertprotokolle (1968 - 2010) Supplement zur Jazz Discography von Tom Lord ..................................................................................................................... 175 19.8. Verzeichnis der Hörbeispiele ................................................................................... 223 2 Vorwort Nach meinem Musikwissenschaftsstudium an der Universität Wien, das ich mit einer Diplomarbeit über Josef Matthias Hauers atonale Phase abgeschlossen habe, einem Kontrabass- Klassik-IGP-Studium und einem E-Bass-Jazz-Studium am Josef-Matthias-Hauer- Konservatorium in Wiener Neustadt, fand ich an der Kunstuniversität Graz am Institut für Jazzforschung eine interessante und für mich passende Fachrichtung. Das Thema der vorliegenden Arbeit ergab sich aus einer Anregung von Herrn o. Univ.-Prof. Dr. Franz Kerschbaumer, die mein Interesse in mehrfacher Hinsicht geweckt hat, und befasst sich mit der musikalischen Biografie von Dave Holland als Bassist, Komponist und Ensembleleiter. Für mich als Kontrabassistin ist Dave Holland ein großes Vorbild. Viel wesentlicher ist jedoch, dass sich durch meine intensive Beschäftigung mit diesem Thema und der jazzhistorischen und analytischen Perspektive mein musikalischer Horizont als hauptberufliche Musikpädagogin immens erweitert hat. Schon in meiner Kindheit erlernte ich an der Musikschule Krieglach die Instrumente Blockflöte, Klavier, Keyboard, Gitarre, E-Bass und Kontrabass und musizierte mit Volksmusikensembles. Weiters lernte ich sehr früh die sinfonische Blasmusik bei der Mitwirkung bei Konzerten mit dem Kontrabass kennen. Während meines Instrumentalstudiums und auch noch heute wirke ich immer wieder in den verschiedensten Klassikensembles mit. Die Ausübung der Popularmusik und mein E-Bass Jazz Studium ermöglichten mir auch die Mitwirkung bei Rock/Pop Bands, Jazz Ensembles und Big Bands. Eine Dissertation über Dave Holland zu schreiben und mich sehr intensiv mit dieser Thematik zu beschäftigen, war mir ein Herzenswunsch. Das dabei erworbene Wissen, die gewonnenen Erkenntnisse und die
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