Review – The Last Gig by Adam Holzman and Brave New World

Impeccable live jazz-rock from former Miles Davis music director and Steven Wilson’s keyboard player


On 12 March 2020, keyboard player Adam Holzman and his band Brave New World drove to the Nublu club to soundcheck for a gig that night. The global pandemic was about to close New York City. Broadway had just shut down, but as Adam said later, ‘we decided to play anyway. Something big was coming, and who knew when we’d be able to perform again?… Only about 18 hardcore fans showed up.’

Adam Holzman has been Steven Wilson’s regular keyboard player since he joined the Grace for Drowning tour in late 2011 in support of Steven’s second solo album.

But Adam’s musical pedigree goes back much further than that; most notably he was with Miles Davis’ band for nearly five years, eventually becoming Miles’ musical director. And going back further still, Adam’s father is Jac Holzman, founder of Elektra Records (who signed The Doors) and Nonesuch Records (who began by specialising in European Early Music, but also commissioned the pioneering electronic album Silver Apples of the Moon, by the American composer Morton Subotnick in 1967). Adam tells stories of when he was a boy and Jim Morrison came to the house, and Adam showed Jim his toy keyboard and tape recorder; quiet moments when Jim was far from his rebellious and controversial public persona. Young Adam was also hugely influenced by The Doors’ keyboard player Ray Manzarek.

The album opens with Intro – The Age of Fear with dystopian synth noises, and ominous voices intoning, ‘The age of fear; the creative spirit must fight to stay alive’, words that take on a poignant significance in this context. But since the 1980s, Adam has made music under the title ‘Optimistic music in the time of fear’, so perhaps there is hope, and the vigorous drum solo from Gene Lake, with bubbling analogue synth sounds suggest that there is still life in music.

On the tour to support Steven Wilson’s third solo album, The Raven That Refused to Sing,  Adam began to do piano improvisations each night at the start of Deform to Form a Star, a song from Steven’s second solo album Grace for Drowning. He collected them together on The Deform Variations in 2015. The second track Pianodemic is another in that tradition, a moment of optimism despite the reference to the Pandemic in the title.

The next three tracks are taken from Adam’s 2018 album Truth Decay. As is often the case with jazz, the live versions have more power and energy than the studio versions, good though they are. The first of these, Ectoplasm, bursts into life with fierce drumming and cool Fender Rhodes keyboards. On the NewEars Prog Show podcast Adam described the Fender as ‘the electric guitar of jazz’, and it plays an important role on this album (although the instrument Adam plays is a Korg SV1 Stage Vintage piano). Throughout the album, Adam gives space to the other players in the band rather than just showing off his keyboard skills, virtuosic as they are, so the album feels like a true band album.

The next track, Phobia has a lovely, spacey, open feel with an atmospheric main theme with evocative harmonies. It gives all the band their chance to shine above the backbeat – first Adam with some distorted Fender Rhodes sounds, then Ofer Assaf, with evocative saxophone, then Jane Getter on heavily echoed guitar. An excellent track.

Growing up as the son of a record company executive, Adam could easily have had a very cynical view of the music industry, the kind of view expressed by a relative who might have said, Good Luck with your Music, in the way that we might say, ‘good luck with that.’ But Adam’s father has been supportive of his son, and it seems that Adam has retained his joy in music making. This is a seriously funky track with an earworm for a chorus, featuring excellent rumbling bass playing from Freddy Cash jr.

Adam originally recorded Maze, a Miles Davis song in 1985, live in the studio just before the sessions for Miles’ 1986 album Tutu. The track finally appeared on the Rubberband album released in 2019. Adam described the track as having, ‘a killer groove…with a flat-out burning solo.’

The final song, Abandoner is a cover of a track from Steven Wilson’s first solo album Insurgentes. The original track begins with a lovely, introspective quality, and Steven’s plaintive vocals are replaced here with soulful saxophone playing from Ofer Assaf. As the title suggests, the song is about loss and abandonment, and Adam’s version perfectly captures this. Steven’s song descends into terrifying noise, perhaps reflecting bitterness and anger at being abandoned. Adam’s version takes a slightly quieter, but equally effective approach.

This is a stunning live album, although it often sounds like a studio album both because of the quality of the playing and the recording, and the fact that the audience is small due to the Pandemic. Holzman says, ‘As of now, it’s still the last gig’. Let’s hope it’s not too long before he is able to tour again.

Album review – Chemical Reactions by Gavin Harrison and Antoine Fafard


Gavin Harrison and Antoine Fafard prove that fusing jazz, rock and classical music does work

Graphic design by Antoine Fafard

In music, the words ‘fusion’ or ‘crossover’ used to a warning for any sensible music lover to run for the hills. Very fast. Musical genres such as classical, rock, pop and jazz have worked independently of each other, very successfully, for decades if not centuries, but attempting to splice their DNA together has sometimes resulted in disturbing mutations. It is therefore a pleasure to report that fusing the muscular but subtle and intelligent drumming of Gavin Harrison, and the jazz bass playing of Antoine Fafard, with a string quartet and even an orchestra, actually works.

It helps that Gavin is probably one of the best drummers in the world at present, having performed as a session musician but also as a member of Porcupine Tree and more recently King Crimson, also releasing a stunning solo album of big band arrangements Cheating the Polygraph a few years ago. To appreciate the quality of his drumming, listen to the opening of the second track on this new album, Atonic Water which begins with half-speed, laconic, almost lazy drumming which is joined by fast, buzzing strings, creating the illusion of two time frames running in parallel. Gavin has written about rhythmic illusions in the past and here he puts his theory into thrilling practice.

Antoine shows what a fine jazz bass player he is in the opening track Transmutation Circle, making fast runs high up the fretboard when he is soloing, sounding almost like a jazz guitarist at times, but also providing a solid underpinning when the music demands that he sounds more like a conventional rock player.

The first five tracks of the album, which also include Vision of a Lost Orbit, Pair of a Perfect Four and Proto Mundi feature a string quartet, made up of Maria Grig who overdubbed all the violin and viola parts and Jonathan Gerstner on cello. They bring great precision and intensity to these opening tracks. Gavin also plays marimba, helping to create a mellower vibe to balance the intensity.

The sixth track Singular Quartz adds Jerry Goodman on electric and acoustic violins, sometimes recalling the virtuosic performances of Eddie Jobson, who played violin for Frank Zappa and Roxy Music among many others.

In the last two tracks on the album Holding Back the Clock and Chemical Reactions the landscape suddenly up opens much wider, a lovely way to end an album that began with the intimate intensity of the string quartet and gradually opened out as more instruments are added. Both tracks feature the Janáček Philharmonic Orchestra conducted by Anthony Armore, recorded in Ostrava in the Czech Republic as long ago as March 2016. They have a cinematic sweep that makes a superb climax to the album. In the documentary about the making of the album, Antoine says that he wanted real players rather than samples because of the subtleties that can bring. Gavin says he had worked with sampled instruments before but enjoyed working with ‘the living breathing organic unity’ that a real orchestra can provide. You can almost sense the joy in the playing of both musicians, particularly Antoine’s inspired bass soloing in the title track Chemical Reactions, and Gavin’s passionately animated drumming around four minutes in. The track rounds off a highly satisfying album that repays repeated listening to reveal all its subtle pleasures; listen on decent speakers or headphones if you can to enjoy its riches in full.

Track list

1 Transmutation Circle

2 Atonic Water

3 Vision of a Lost Orbit

4 Pair of a Perfect Four

5 Proto Mundi

6 Singular Quartz

7 Holding Back the Clock

8 Chemical Reactions


Gavin Harrison drums and marimba (tracks 1 – 5) drums (tracks 6 – 8)

Antoine Fafard bass (all tracks)

Maria Grig violins and viola (tracks 1 – 5)

Jonathan Gerstner cello (tracks 1 – 5)

Jerry Goodman acoustic and electric violin (track 6)

Avigail Arad Cello (track 6)

Reinaldo Ocando marimba and vibraphone (track 6)

Janáček Philharmonic Orchestra conducted by Anthony Armore (tracks 7 – 8)

Chemical Reactions is released on 11 December on the Harmonic Heresy label.