Album Notes

Some thoughts... The music contained on "Wings for the Spirit" encompasses many spheres of influence, not the least of which is the improvisational legacy of jazz. Also of note is the environmental quality of space, silence, and the virtue of patience. The listener will realize no waste of notes, a simple yet refined posture and an approach that is at once natural and spiritual. This is sophisticated, uncluttered, unencumbered music that is truly created, not forcibly produced. At the core is the impeccable musicianship of Marvin "Doc" Holladay, a musician respected worldwide as one of the premier baritone saxophonists in creative music. Few musicians have witnessed and participated in the evolution of American music, much less added a rich, literate voice to that music, as has Holladay. Formerly the director of Jazz Studies at Oakland University in Rochester, MI, in suburban Detroit, Holladay was known not only as an instructor and performer, but as a composer, arranger, and a student of all musics. Perhaps Holladay's greatest claim to fame was his work in the '50s and '60s with the ensembles of Stan Kenton, Woody Herman, Quincy Jones, the Ellington Alumni Orchestra, Benny Carter and Duke Pearson. He has also worked with Dizzy Gillespie, J.C. Heard, Tito Puente, Sam Rivers, Charles Mingus, Cannonball and Nat Adderley and Pepper Adams among countless others. Although Holladay's credentials are as impressive as any jazz musicians in the country, it would not mean a thing if his playing was mediocre. On this, his debut recording as a leader, you'll hear a master of his instruments who plays without overtly showy histrionics, blinding riffs or blaring altissimo blasts. His intelligence, passion and good taste are consistently evident with every phrase on "Wings for the Spirit." This recording will likely take listeners into uncharted waters. It is music with depth and substance. It is music that defies pigeonholing. It is music that will move you. This is the music of "Doc" Holladay, and it is only a beginning. The sounds on this recording may well ask very real and important questions about life in the '80s. The answers are also within. But most importantly, it is music that needs to be heard and felt with the heart, soul, and the mind. -Michael G. Nastos (Program host-WEMU-FM, Ypsilanti, MI; Ann Arbor News music writer; contributor to Downbeat, Cadence, and Coda Magazines) About the music on "Wings for the Spirit.".. (notes for all songs except tracks 4 and 6 were contributed by Michael G. Nastos) Track 1 "Bahji" (7:32) Focus: A spiritual center of place associated with a religious or spiritual identity. Track 2: " Tahirih" (6:06) Focus: The emergence of women into equality and the realization of the potential latent within their being Track 3: "A Visit with the Master" (5:59) Focus: The vitality and humor of a profoundly spiritual person. Track 4: "The Luminous Continent" Suite (11:10) Movement 1: "Origins of Humanity " Focus: The wonder of the origins of humanity-,"Know you not why we created you all from the same dust...(Baha'u'llah)" Movement 2: "Pupil of the Eye" Focus: Redefining the perception of Africa from the "Dark Continent" to the "Luminous Continent" Movement 3: "Pillars of Faith" Focus: Power, strength and steadfastness as the roots for man's spiritual evolution Track 5: "Carmel" (6:22) Focus: A benevolent supportive source of order in life--balancing beauty with function. Track 6: "Shiraz" (7:05) Focus: Service, sacrifice and obedience to God as vehicles for man to truly fulfill his spiritual destiny. Track 7: "Meditation for the Martyrs" (5:10) Focus: The sacrifice of heroes martyred in the path of service to mankind. Track 8: "Fortress for Well Being" (4:32) Focus: The beauty, security, and joy of a loving marital relationship. Track 9: "At the Threshold" (4:30) Focus: Prayer or invocation at the most