His training has been tempered with years working security for a variety of locations and he progressed to becoming an instructor for a leading security company.
Gavin has embraced the rise of MMA (and has clearly worked a lot of inspiration from this source into his training, as will be revealed) and one of his students - Neil Grove - became a heavyweight MMA champion in the UK and progressed onto the UFC. He fought in UFC 95 but lost by submission. He later fought in Bellator (Season 3) and made it to the heavyweight final but again lost to a submission. Gavin trains other successful fighters who also use Goju ryu as their base style.
So onto the book...
Four Shades of Black
The first thing to say is that Four Shades of Black is without a doubt the most professional and attractive martial arts book I have seen to date. It has a sophisticated, coffee table look and feel to it. The text is white on a black background and all the (excellent) photographs are in black and white. Clearly someone put a great deal of thought into the design and it comes across. The only disadvantage is if you are like me and want to make notes directly on the page...you will need a white ink pen.
A more general comment with regard to content is that the book deals with four Goju ryu karate kata, these being Gekisai Dai Ichi, Gekisai Dai Ni, Saifa and Seiunchin. However, it is not a book about applications (bunkai). Instead, Mulholland interprets each kata from the point of view of what concepts it is introducing and, once the concept is isolated, he details various training drills you can use to practice the central idea (hence the inclusion of MMA-style drills).
Put simply, Mulholland argues in Four Shades of Black that the core concept of, say, Gekisai Dai Ichi is to 'attack and smash'. Therefore, rather than simply practice the movements of the kata (only), the practitioner instead practices how to 'attack and smash' using any technique he deems relevant, whether it features in the kata or not.
Four Shades of Black is split into four parts which are further divided into eleven chapters. The chapters concerning each kata follow a similar formula of a short, paragraph-long story to 'set the scene', introducing the kata and the principles, detailing the movements of the kata and then discussing the basic techniques to accompany the kata, what bunkai practice should concentrate on (there are very few direct examples of bunkai), and ideas for padwork drills, partner drills and conditioning. The latter two sections of each chapter of Four Shades of Black really capture the eclectic approach Gavin Mulholland takes. He incorporates Thai pad drills with traditional hojo undo conditioning methods.
Mulholland starts Four Shades of Black proper with an introduction of his subject. He holds the idea that combative practice always included elements that were outside the scope of the kata, with two obvious exclusions being weapons practice and grappling. Mulholland doesn't cite any evidence for this but his ideas are in close accord with what I know about the Bubishi, the 'Bible' of karate which takes a very hardcore approach to combat that is all inclusive with regard to empty hands combat (but doesn't discuss weapons combat) and describes a kung fu method - which heavily influenced Okinawan karate - very similar to what we see nowadays in MMA.
Four Shades of Black reinforces this point with the argument that the kata may not directly stipulate the use of, for example, grappling, but the forms allude to multiple ranges of combat. Mulholland feels that the kata, both in technique and concept, are designed to point you in the direction of your next area of study. The kata in this sense are an introduction to, and a record of, an area of combative research that were fully intended to be supplemented with additional training. I would interject here that traditionally practitioners would spend up to three years on a single kata. Quite why is a mystery, but if we provisionally accept Mulholland's stance and consider the three year period anew then it begins to make more sense. It would not have been the movements in the kata themselves which needed three years to be mastered, but the entire concept and the investigation of multiple techniques related to that concept that were practiced.
Mulholland compares this approach to that of a university professor. The professor doesn't so much tell you what the answer is; his role is more akin to leading you along a path of investigation by advising you on how to best spend your time (reading) books and journals that are related to your main area of study. There is no answer as such; he leads you to finding your own (well-informed) opinion.
Another very good point that Mulholland makes in Four Shades of Black is the idea that ultimately the karateka aims to protect not only himself but the attacker as well. I would like to refer you here to the work of Nathan Johnson who, first, has argued in his books that the kata Naifuanchin / Tekki is in fact a record of stand-up grappling techniques in the form of escapes, reversals and counter-locks, and second, maintains that these techniques were used in civil defense to control, but not 'beat up' an aggressor.
Mulholland next discusses Sanchin briefly, noting that this kata - along with Tensho - is suited for directing one's attention inwards, as opposed to the four kata that comprise the main area of study in Four Shades of Black which direct the practitioner's attention outwards. Like so many senior Goju ryu karateka Mulholland sees Sanchin as being a profound form that teaches 'all the principles and strategies you need to know.' It is not to be ignored; rather, it should be better understood through the study of the material and kata outlined in Four Shades of Black.
Gekisai Dai Ichi
The first kata examined in Four Shades of Black is Gekisai Dai Ichi. A literal translation of this kata name is 'Attack and smash number one' and at both a technical and conceptual this is, according to Mulholland, precisely what it is designed to teach. The purpose of the kata is to develop an aggressive fighter who is able to use basic punches, kicks and strikes, singularly or in combination, at long range. It is important to note again that Mulholland does not restrict the practice of the concept of the kata to only those techniques found within the kata. He asks the reader to work on punches, kicks, elbows and sweeps while (for the time being) staying away from evasion, trapping and so on.
Mulholland argues that this is important because the techniques must match the concept being taught and vice versa. He gives a very interesting example, related to the rise of MMA, and demonstrating a point well. Imagine a new student starting karate. The student notices that in a 'real fight' (such as in the UFC) a single style is not enough. Therefore the student 'tags on' some aikido. While this may not appear to be much of a problem, Mulholland argues that in fact it is. The reason is that at a conceptual level karate and aikido - at least at the level of a beginner - are not a good match. Gekisai Dai Ichi is fostering an aggressive mindset while aikido is teaching a student to harmonize with a force. This isn't to say one art is better than the next, but they are different at both the technical and conceptual levels.
Mulholland goes on to detail some pad work drills in Four Shades of Black and again notes that the pad work should help a student understand and express the concept of the kata (to attack and smash). Therefore the pad work should be done with full intensity to the point of exhaustion. Nothing subtle (though skill isn't to be ignored), just concentrating on developing strong techniques delivered in combinations with an aggressive mindset.
Partner drills follow the same plan: kata concept first, kata technique second. An example given in Four Shades of Black is a lead punch - reverse punch - round kick to the thigh combination delivered against a partner. Obviously this kind of combination is not seen in the actual kata but it is a tried and tested combination effective in 'attacking and smashing' and is regularly seen in MMA bouts. It doesn't use advanced techniques and could be practiced at a slow pace by most students, I would say, by the end of their first lesson.
The final section of this chapter is on conditioning and here - Mulholland demonstrating his acceptance of both the traditional and the modern - the author recommends the use of a makiwara striking post, partly to condition the knuckles, but mostly to develop good, powerful form. Mulholland doesn't dismiss bag work but - and I am reading between the lines here - I think he would recommend not using gloves in this practice to prepare the fists for the reality of combat and contact.
The next chapter of Four Shades of Black introduces Gekisai Dai Ni. Mulholland begins by noting that this kata is very similar to Gekisai Dai Ichi, both in style and concept, with the addition of evasion as a concept being introduced at this stage. Here Mulholland wants the student to study not just evasion, but how to 'receive' a technique to gain a positional and tactical advantage. Evasion then is not simply about running away or getting out of the way. It is about avoiding an attack in such a way that you (the receiver) are in a stronger position from which to launch your own counter.
After detailing the kata Mulholland then takes a look at how the concept (evade to gain a strategic advantage then attack and smash) can be trained in a variety of ways. Kihon, as detailed in Four Shades of Black needs to build on what was learned in relation to Gekisai Dai Ichi by introducing open-handed attacking and blocking techniques, taking a 45 degree angle when advantageous and evading an attack into neko ashi dachi. Similarly, the bunkai need to reflect an element of evasion and a wider variety of different attacks and blocks.
The conditioning exercises detailed in Four Shades of Black continue to develop the fighter's ability to 'attack and smash' effectively with power while minimizing the risk of damage to the attacking tool. The correct alignment of the knuckles should be emphasized and a strong structure can be generated by doing push-ups on the knuckles. The makiwara should continue to feature heavily in conditioning and heavy bag work will introduce a rounded surface (as opposed to the flat surface of a makiwara) to further test your ability to consistently deliver a solid punch. In addition, pad work should now introduce an element of evasion by having the trainer simulate punches and other attacks with the pads forcing the trainee to react.
The next area Mulholland discusses is kakie, or pushing hands, which he sees as a fundamental and very useful skill to develop. There are some basic instructions given in Four Shades of Black but they are not extensive and may not make complete sense to someone unfamiliar with this practice method. For greater information on the relevance of pushing hands to karate please refer to the work of Nathan Johnson.
The conditioning section of this chapter of Four Shades of Black introduces the chi ishi. This is a heavy stone - circular more often than not - attached to the end of a long wooden handle. Various exercises can be done with this piece of equipment - which Mulholland rates as second only to the makiwara - but instructions are unfortunately vague here and the reader will need to refer to an external source for more information. Mulholland wants the conditioning at this stage to concentrate on developing arm and wrist strength.
Saifa
Saifa is the next kata detailed in Four Shades of Black. The name means 'smash and tear' and according to Mulholland this kata takes combat to a range where you can be grabbed; therefore the techniques and concepts introduced are for breaking free of grabs and holds. The basic concept covered is: To break free of a hold use strikes and distractions then apply your whole body to a weak point in the grip in order to escape.
Following a demonstration of Saifa Four Shades of Black next introduces the relevant kihon. In this case it is not so much that the techniques are different from those learned in Gekisai Dai Ichi and Gekisai Dai Ni, but more that the same techniques are applied in a different manner; in this case to break free of a grab. For example, a low block which may have previously been used to block a kick is now used to smash into an opponent's arm that is gripping your wrist. Mulholland sees this as part of the beauty of kihon - that the same technique can be applied in multiple different ways according to the needs or understanding of the student.
For once Mulholland next details some actual bunkai (rather than leaving us with ideas as he does in other chapters). These examples are informative and welcome but not extensive.
Moving onto padwork, Four Shades of Black introduces some good ideas. As Saifa is about escaping a grab the padwork needs to reflect this and the student should therefore be initially prevented from striking. Instead the pad work drill should start with an escape before executing techniques on the pads. Another variation is to have a third person hold the student; once the escape has been effected the student turns to the second student who is holding the pads and executes the 'smash' part of the application. There are some very good ideas here to help you develop and keep pad work interesting and relevant.
The chapter on Saifa in Four Shades of Black continues by introducing or re-examining a multitude of different supplementary training techniques. Mulholland encourages the karateka to continue with the practice of kakie by making it more challenging by introducing more patterns of movement. He then goes on to look at throws (nage waza) - an area of combat the author clearly has a great of respect for - but from the point of view of karate: precede a throw with a strike and make an effort to unbalance an opponent first.
An interesting practice method is next detailed. The trainee stands in the center of 3-4 of his partners who take turns to grip the trainee's arms or wrists from which the trainee must flow from one escape to the next. Mulholland here writes that 'This is a fantastic drill and you will notice a lot of Aikido-style movements along with a lot of classical positioning.' This struck me as being paradoxical given what he had written earlier (and detailed above) on the problems associated with studying as art (like aikido) which has fundamentally different concepts with regard to fighting as compared to karate. It also isn't clear how this drill is supposed to train the practitioner to be able to 'smash and tear' which is the concept supposedly under study. This however is a very small point and doesn't detract from the content. Following this exercise there is an interesting drill for dealing with surprise attacks.
The conditioning section of this chapter of Four Shades of Black is more extensive than before. Mulholland discusses three training devices: the chi ishi (already introduced), the nigiri game and the makiage kigu. As with earlier chapters, actual training techniques are not described but the chi ishi is praised. In this case I would be interested to know how Mulholland evaluates the kettlebell.
in comparison to the chi ishi. The new device introduced is the nigiri game. These are gripping jars that stretch and strengthen one's fingers by progressively filling the jars with more and heavier substances. These jars can also be held in stationary positions, which leads Mulholland to discuss the pros and cons of isometric exercises as compared to isotonic training (lifts done against resistance).
The makiage kigu is a wrist roller that comprises of a handle with an attached rope to which is attached a weight. The user rolls the handle to pull up the weight and then repeats as necessary. This is done with the arms held straight out in an extended position, making the whole procedure much tougher.
The final section is about tameshiwara, or Trial by Breaking. This is the only part of Four Shades of Black that I humbly disagreed with. Mulholland presents a good argument for why breaking techniques (against wood and even concrete) should be included in gradings (but not, interestingly, as a part of regular training...he doesn't believe breaking should be practiced as such, only the constituent elements necessary to develop to execute a good break). I certainly agree that the fists and other body parts used as weapons need to be conditioned, but have very different ideas on whether or not breaking should be undertaken or not. I feel that destroying is less important than building.
Seiunchin
As Four Shades of Black draws to a close the final kata in focus is Seiunchin. The name means 'trapping / control battle' and the movements and the concept focus on close quarters combat. Mulholland introduces one of numerous interesting points here: this 'trapping battle' can just as easily occur while rolling on the ground as it can standing up. It is harder to use body dynamics to augment your power while on the ground, but still, many of the same movements can be used and indeed new applications of old techniques can be found when the fight has moved to the ground. The author though is careful to point out that in his experience most fights that pit a skilled fighter against an opponent who is unskilled rarely go to the ground. He lists statistical evidence to support his point and contrasts this with the chances of two unskilled fighters going to the ground (a much higher chance). The conclusion reached in Four Shades of Black is to therefore not place too much expectancy on going to the ground but to be prepared for it just in case. This is what Seiunchin is designed to do.
The bunkai section of this book offers more in the way of direct examples than previous chapters and here Mulholland demonstrates how the same technique can be applied while standing up or while in a grappling situation. These comparisons are very interesting and while not exhaustive provide enough examples to get the reader thinking and experimenting.
As expected, the section on pad work focuses on uses karate techniques against pads in a grappling situation. As usual, Mulholland is here presenting more of an idea than actual drills. Partner drills are next introduced in Four Shades of Black and here previous training routines can be understood as linking together to prepare the fighter for grappling. By now kakie should have been a regular feature of practice and in a grappling situation it is vital that the fighter be able to react by touch rather than sight. At this stage kakie should still be practiced though now with a view to closing the distance with your partner. Throws should also be practiced, as should co-operative and free grappling. Co-operative grappling involves one person allowing the partner to practice the technique under discussion by presenting - on purpose - opportunities to do so.
Conditioning introduces the kongo ken, an excellent supplementary training device to improve one's strength for grappling.
As Four Shades of Black draws to a close Mulholland reviews what he has written and encourages the student to look more closely at the kata. The book ends with a nice story on the importance of avoiding fighting as much as you can and this is followed by a good glossary.
This is a great book and highly recommended. It is itself very conceptual in approach and delivers more in the way of concepts and guidance than it does technique. It will open your eyes to the wide range of applications that can be found for karate techniques and will give you plenty to think about. Obviously the main content is more suitable for Goju ryu practitioners but anyone of any style would benefit from reading this book as many of the ideas are easily applicable to any fighting system.
