First taking the stage in Ann Arbor with his A-list of stellar sideman in 2003, bassist Dave Holland would make a return appearance this winter for two varied sets featuring both an octet and his big band.  Holland and his entourage delivered an outstanding performance at the acoustically sound and modestly sized Michigan Theater, tapping a varied book of originals that Holland has gathered over the past several years.

Four rather lengthy selections with the octet on hand (Alex Sipiagin, Chris Potter, Gary Smulyan, Antonio Hart, Robin Eubanks, Steve Nelson, and Nate Smith) made up the initial set of the evening.  Each one explored a different mood while providing opportunities for extended soloing from all voices on deck.  The ballad “Blue Gene” would prove to be an especially attractive number with Nelson’s vibe and marimba work offering textural variety that is just not possible when utilizing the guitar or piano as the basis for harmonic support.  Sipiagin, Potter, and Smulyan would get the lion’s share of solo space and each one made the most of the exposure.

With a change in the set-up, a 13-piece big band would take the stage for a rousing second set that spoke with equal portions of precision and inspired abandon.  New drummer Nate Smith proved to be a major asset here as his musicality took precedence over displays of pyrotechnics.  Unlike predecessor Billy Kilson, Smith goes for more of a consistent groove that contrasts nicely with the more frenetic nature of Holland’s writing.  Many of the tunes would come from the album “What Goes Around,” including takes on “First Snow” and “Blues For C.M.”

Holland’s moments in the spotlight were judiciously few and far between, but when he stepped forward it was always with a purpose, telling stories that would evolve into miniature masterpieces.  Chris Potter would also impress on his few extended moments, building to fiery climaxes that would speak to his position as one of the most esteemed tenor saxophonists of his generation.  Antonio Hart was also rewarding to hear, his spot on the closing “Blues For C.M.” containing equal doses of bebop virtuosity mixed with the suave and sophisticated elegance of Johnny Hodges.  Although he would only be heard once as a soloist, Philly trumpet legend John Swana made the most of the exposure and filled out the trumpet section with a high degree of verve and professionalism.

In the final analysis, both ensembles were fine tuned to perfection and their execution of some challenging charts was nothing short of dazzling.  Holland has found a perfect platform for his creativity with these groups and in doing so has varied his pallet, making for a win-win situation.