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Date: Sat, 03 Oct 92 05:30:03 EDT
From: atavachron@morekypr
Subject: Atavachron Digest #26
To: Jeff Preston
Atavachron Digest - The Allan Holdsworth Discussion List
Volume 2, Number 26
Saturday October 3rd, 1992
TODAY'S TOPICS:
==============
Husband's drumming
Interview Questions
Husband bashing?
whomever responds
Holdsworth at Philadelphia's Chestnut Cabaret
I wasn't joking!
Re: V2 N25: *unknown*
Today's word is 'tidbit'
-------------------------------------------------------------------------------
Date: Tue, 29 Sep 92 23:18:32 PDT
From: edju@girtab.usc.edu (Dr. Hannibal Lecter)
Subject: Husband's drumming
It's possible that he's been off the drum kits for one year - even if
he's been touring or rehearsing with Level 42, it's no better than not having
played for a year at all!
Eddie
-------------------------------------------------------------------------------
Date: Tue, 29 Sep 92 23:21:17 PDT
From: edju@girtab.usc.edu (Dr. Hannibal Lecter)
Subject: Interview Questions
Anil,
Please ask Allan if he's heard of Howard Shore and Ornette Coleman's
music and if he will consider collaborating with one or both of them.
Eddie
PS Congratulations on becoming the new editor of NFTE! (haha :) )
-------------------------------------------------------------------------------
Date: Tue, 29 Sep 92 23:29:00 PDT
From: edju@girtab.usc.edu (Dr. Hannibal Lecter)
Subject: Husband bashing?
> How can anyone fill Wackerman's shoes?
Personally I rather enjoyed Husband's unique, non-cliched style.
Wackerman was very aggresive live, almost metal, but his recorded drummings
don't quite measure up. I had yet to see Husband live to make any final
judgements, though. Just out of curiosity, can we conduct a poll to see who
is Atavachron readers' favorite drummer? Bassist? And keyboard player?
(within the Holdsworth band, that is.)
Eddie
-------------------------------------------------------------------------------
Date: Tue, 29 Sep 92 23:33:17 PDT
From: edju@girtab.usc.edu (Dr. Hannibal Lecter)
Subject: whomever responds
>The good news is that my copy of RftUC arrived! Thanks to whomever posted
>the Music Dispatch info.
Hey, don't even mention about it.
As far as the two missing pages go...
Music Dispatch's address is PO Box 13920
Milwaukee, WI 53213
USA
Since you don't feel like spending postage... oh well.
Eddie
-------------------------------------------------------------------------------
Date: Wed, 30 Sep 92 09:39:05 EDT
From: jarnot@kin.lap.upenn.edu (Kevin J. Jarnot)
Subject: Holdsworth at Philadelphia's Chestnut Cabaret
Is anyone else going to see Allan play Oct 6th at the Chestnut Cabaret?
If you are, please mail me...
Kevin
---
Kevin J. Jarnot (jarnot@kin.lap.upenn.edu) | "The monkey-boys are evil -
Lead Programmer/Analyst/Keyboardist | Lord Whorfin is supreme..."
Univ. of Pennsylvania Language Analysis Center |
3700 Market St, Suite 202 Phila, PA 19104 | "Vita Non Jerk"
-------------------------------------------------------------------------------
Date: Wed, 30 Sep 92 10:07:30 -0400
From: barrett@gleep.cs.umass.edu (Daniel Barrett)
Subject: I wasn't joking!
I wrote:
>>Gary's drumming is incredible; I love the way he swings his stick
>>toward a drum and then purposely doesn't hit it, so the listener is
>>forced to fill in the missing beats mentally. What a unique drumming
>>style he has.
Jeff Preston wrote:
> I'll always get a laugh from this, Dan, as long as I live. :) It's
>only because I know what you mean, from seeing the Columbus show. But I
>wish I'd only had you and Lynn along in Dayton just to show you that
>Gary wasn't a total loss on this tour... he was really on top of it
>that night (honest!).
I don't understand why this is funny -- it wasn't meant as
a joke! Gary intentionally leaves silence on certain strong beats;
good jazz drummers do that. But in his particular style, he swings
at the drum anyway, or looks like he's preparing to do so, and then
simply doesn't complete the motion. It gives a good picture, I think,
of what's going on in his head while drumming.
I saw him on the "Metal Fatigue" tour in 1984, and he played
the same way. It's his style.
Or am I missing something...? :-)
Dan
//////////////////////////////////////\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
| Dan Barrett -- Dept of Computer Science, Lederle Graduate Research Center |
| University of Massachusetts, Amherst, MA 01003 -- barrett@cs.umass.edu |
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\/////////////////////////////////////
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Date: Thu, 1 Oct 92 11:43:11 MDT
From: stortek!Steve_Monroe@csn.org (Steve Monroe)
Subject: Re: V2 N25: *unknown*
Let me preface what I am going to write with a disclamer: I am NOT
meaning to be pejorative with my comments. Also, I HOPE I do not
appear to be reading content into Alan's words.
mccabe@andromeda.rutgers.edu (Chris Mccabe) wrote:
> Me: You're such a great guitar player, it's a shame you don't
> get more attention in the media. Is there any chance you
> would do something like play on television, like on a
> talk show or something. For example, like what Chad did
> on the Dennis Miller show.
>
> Alan: No way. I would never do anything like that.
> Me: Why?
> Alan: Because when the show gets cancelled, they just drop you.
> Me: It's such a shame, but I don't hear much jazz fusion around
> here (NYC), even on a good Jazz station like WBGO, so I
> never hear your music on the radio.
> Alan: That's probably the way it will always be.
> Me: Yeah. Anyway, now I have something to tell the guys on
> the computer network.
> Alan: Yeah, that's really cool. I hope you guys can continue doing
> that.
This exchange makes me feel as though Alan is on the very precipice
of chucking the whole thing. Since Alan has been in the music biz
a little more than 20 years, there is likely not much he hasn't
been exposed to, so he may just be a realist with comments like,
"Because when the show gets cancelled, they just drop you." But at
the same time, I can't help but think that he is extremely
frustrated with his situation. Who can blame him? I don't know if
it is true, but I have heard that the current bunch of "Jazz"
radio stations that broadcast in the so called "WAVE" format use
tempo maps for programming their broadcast. So, if your tune isn't
at a certain tempo for a given portion of the day/night/whatever,
you don't get played. Alan's music would defy this type of slick
packaging. Based upon the comment, "That's probably the way it
always will be", Alan seems to have somewhat accepted the idea
that he will never get much radio exposure. This, along with all
the muck he has had to put up with from his record label(s), and
management over the years makes me wonder if he is nearing the end
of his professional music career. I played music as a full time
profession for only five years, and I am absolutely amazed that
Alan has lasted this long. Record companies are not interested in
innovation. They want something that will SELL dammit, and FAST.
This is why acts like Madonna, U2, Guns&Roses et. al. exert such
power in the industry: They sell vast amounts of CDs and tapes,
they fill arenas, they sell magazines, and are generally the
answer to the marketing division's prayers. After all, the
music business is first and foremost a BUSINESS. If it doesn't
sell(really well), get rid of it. This is why "Road Games" is
gone. Warner's likely used the master tapes for Christmas tree
decorations a few seasons back. It's useless to them: no sales.
Once again, I hope I haven't been overly morose, but...well...just
the ramblings of an old codger...
sjm
-------------------------------------------------------------------------------
Date: Sat, 03 Oct 92 00:18:24 EDT
From: PRESTON@morekypr.bitnet
Subject: Today's word is 'tidbit'
>Date: Mon, 28 Sep 92 19:50:03 -0400
>From: barrett@astro.cs.umass.edu (Daniel Barrett)
>Subject: album delayed?
> At the Holdsworth concert on 9/23/92, I heard Allan say he
>had "just heard" that "Wardenclyff Tower", his new album, will not
>be released on October 10 as planned. It will be a few weeks late.
Thanks for the update, Dan. I thought the 10th sounded funny, anyway,
seeing as how that's a Saturday, and most albums come out on Tuesdays
here in the U.S., anyway. I wonder what delays these things, anyway...
after all, this album's been done for a long time now.
>Date: Mon, 28 Sep 92 14:59:30 EDT
>From: Kingsley Durant Jr
>Subject: Holdsworth discography
>The Soft Machine record "Land Of Cockayne" was released in 1981
>on EMI (UK). Allan plays on several cuts but is only featured
>on a couple, and only solos on one. The rest of the band is
>worth a listen, however. Karl Jenkins and John Marshall remain
>from the "Bundles" era band, and they are joined by John Taylor
>(fender rhodes), Jack Bruce (bass), Alan Parker (rhythm gtr),
>and a pair of excellent saxophonists, Allan's old friend Ray
>Warleigh, and Dick Morrissey, who once blew some fresh air into
>Pink Floyd records. (e.g. Dark Side of the Moon). It's a bit
>heavy-handed at times (there's an orchestra featured on several
>cuts) and it's not exactly a Holdsworth date, but it's worth
>a listen if you can find it.
Thanks for this tidbit, Kingsley -- I've added it to the discography.
It's amazing that we're still discovering these things, nearly a year
after the list was started. It's almost as if Allan's discography were
some closely guarded military secret! Perhaps the complete discography
holds the key to some important encrypted message from aliens...? :)
Speaking of recently uncovered tidbits, a fellow listmember was kind
enough to send me a copy of a catalog from Audiophile Imports (which
was better than what A.I. sent -- nothing so far!!). It contained the
following listing:
Steve Tavaglione - _Blue Tav_
Debut from this extremely talented sax/EWI player. Players include
Jimmy Johnson, Vinnie Colaiuta, John Pena, David Garfield, Mike
Landau, and special guest Allan Holdsworth.
This is listed under Japanese imports, so I don't know if this is a
legitimate recording or not, especially after seeing the price tag on
it ($34.99!!). I really wish I could get a new catalog from this guy,
because he lists something with Allan on almost every page! This one
is from '90/'91, and he drops little hints at knowing things... at the
end of the listing for _Secrets_ he says "A live recording is due later
this year." Arrgh! WHY can't I get a response from this guy???
Well now that's out of my system... ;)
Jeff Preston
-------------------------------------------------------------------------------
*** End of Atavachron Digest ***
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send your posting to:
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All comments made here are the views of the individual
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Received: by UKCC (Mailer R2.08) id 5797; Sat, 10 Oct 92 02:09:08 EDT
Date: Sat, 10 Oct 92 02:00:05 EDT
From: atavachron@morekypr
Subject: Atavachron Digest #27
To: Jeff Preston
Atavachron Digest - The Allan Holdsworth Discussion List
Volume 2, Number 27
Saturday October 10th, 1992
TODAY'S TOPICS:
==============
RE: Husband's Drumming
Irony, humor, and sour grapes
NorthEastern U.S. Reviews
About Steve's thoughts
Holdsworth Stuff
The perfect gift for The Brewer...
-------------------------------------------------------------------------------
Date: Sat, 3 Oct 92 08:44:08 -0400
From: rardin%bad.dnet@auriga
Subject: RE: Husband's Drumming
>From: edju@girtab.usc.edu (Dr. Hannibal Lecter)
>Subject: Husband's drumming
>
> It's possible that he's been off the drum kits for one year - even if
>he's been touring or rehearsing with Level 42, it's no better than not having
>played for a year at all!
> Eddie
Ouch! Good point, Eddie! I had forgotten about his playing with Level 42.
Guess that rumor about him not playing must have been bogus. :)
>From: edju@girtab.usc.edu (Dr. Hannibal Lecter)
>Subject: Husband bashing?
>
> Personally I rather enjoyed Husband's unique, non-cliched style...
>Just out of curiosity, can we conduct a poll to see who is Atavachron
>readers' favorite drummer? Bassist? And keyboard player? (within the
>Holdsworth band, that is.)
> Eddie
Now there's an idea. So Jeff, have you recovered from the last poll yet??? :)
-Lynn
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Date: Sun, 04 Oct 92 07:12:56 EDT
From: PRESTON@morekypr.bitnet
Subject: Irony, humor, and sour grapes
Less than two months ago...
>Date: Fri, 7 Aug 92 13:08:49 PDT
>From: edju%aludra.usc.edu@usc.edu (Dr. Hannibal Lecter)
>Subject: The "beer bottle" controversy
[...]
>PS "Difference is good!" Isn't that why we listen to Allan in the first place?
... and then, just the other day:
>Date: Tue, 29 Sep 92 23:18:32 PDT
>From: edju@girtab.usc.edu (Dr. Hannibal Lecter)
>Subject: Husband's drumming
> It's possible that he's been off the drum kits for one year - even if
>he's been touring or rehearsing with Level 42, it's no better than not having
>played for a year at all!
Talk about things that make you go "hmmmmmm..." :)
>Date: Wed, 30 Sep 92 10:07:30 -0400
>From: barrett@gleep.cs.umass.edu (Daniel Barrett)
>Subject: I wasn't joking!
>Jeff Preston wrote:
>> I'll always get a laugh from this, Dan, as long as I live. :) It's
>>only because I know what you mean, from seeing the Columbus show. But I
>>wish I'd only had you and Lynn along in Dayton just to show you that
>>Gary wasn't a total loss on this tour... he was really on top of it
>>that night (honest!).
> I don't understand why this is funny -- it wasn't meant as
>a joke! Gary intentionally leaves silence on certain strong beats;
>good jazz drummers do that. But in his particular style, he swings
>at the drum anyway, or looks like he's preparing to do so, and then
>simply doesn't complete the motion. It gives a good picture, I think,
>of what's going on in his head while drumming.
To paraphrase a local saying: "If this wasn't a joke, it missed a
really good opportunity to be one!" :) I thought you were referring
to Gary's misplaced shots to cymbals, generally, although I found his
biggest faults lying in the fact that he hit the rims and his own
sticks so many times. Mea culpa. :) I didn't pay much attention to
the "check swings" you describe -- I've seen quite a few drummers do
that.
>Date: Thu, 1 Oct 92 11:43:11 MDT
>From: stortek!Steve_Monroe@csn.org (Steve Monroe)
>Subject: Re: V2 N25: *unknown*
> This exchange makes me feel as though Alan is on the very precipice
> of chucking the whole thing. Since Alan has been in the music biz
> a little more than 20 years, there is likely not much he hasn't
> been exposed to, so he may just be a realist with comments like,
> "Because when the show gets cancelled, they just drop you." But at
> the same time, I can't help but think that he is extremely
> frustrated with his situation. Who can blame him?
[...]
Sure, who wouldn't be frustrated? But, as you say in a later part
of your posting, he seems to have accepted this type of frustration as
a "given." He still makes music because he is *driven* to do so,
regardless of whether or not anyone will buy it; this is something
I understand well, as you probably do. I think as long as there is
interest in financing his recording projects, and moral support from
Allan's fans, and his peers in the musical community, he will continue.
I think we can only help by letting Allan (and Restless) know how much
this music means to us -- write! It doesn't have to sound like a
teen idol-worship letter; just essentially tell him how much you enjoy
the music, and that you think it'd be a great loss if he were to stop
making it.
> This is why "Road Games" is
> gone. Warner's likely used the master tapes for Christmas tree
> decorations a few seasons back. It's useless to them: no sales.
I know this is what Allan told Chris McCabe ("_Road Games_ is 'gone',"
to paraphrase), but rest assured, it is safely tucked away in Warner Bros.
vaults. Allan meant that the chances of WB letting it re-surface were
"slim-to-none," since they obviously want more money for it than any
sane record company would be willing to pay. My guess is that if Restless
said, "Okay -- we'll pay your asking price," then WB would renege on the
deal and ask even *more* for it. Please indulge me my speculation: I think
there was someone at WB who not only felt as *we* do about Allan's music
(that if it were supported by the proper amount of money, it would be
selling as well as Vai or Satriani), but also stuck something vital out
there on the company's chopping block, and promptly got it whacked off
when the dust cloud from the Holdsworth/Templeman dispute settled. I
also think this person (or persons) still occupies a high position at
Warner, and is determined not to do anything that might help Allan's
career in any way (i.e., sell _Road Games_ and let it be reissued, and
let Allan collect some royalties from it). There's no doubt that if WB
were to put this on CD, it would sell, but there's obviously a reason
why they don't want to put it out... you now know what my guesses are
as to their behavior. It's petty politics and sour grapes, IMO. I hope
Anil is listening today... :)
Jeff Preston
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Date: Mon, 5 Oct 92 10:25:48 PDT
From: freedman@mprgate.mpr.ca (Elliot Freedman)
Subject: NorthEastern U.S. Reviews
If any of the papers in the cities where Holdsworth has recently played
(or plans to play) on this tour publish reviews, I would be interested
in hearing what they have/had to say.
If any of you in Boston, New York, Philadelphia, etc. see a review,
would you mind posting excerpts from it? Thanks.
Elliot Freedman
PS. Pat Metheny played Vancouver last night. There seem to be
some very beautiful moments on the new album, and some
angular ones (like 7/7/5 or 5/5/7 from Letter from Home).
There were some moments that I found a bit unsettling...
Pat bathed in single soft spotlight sitting on the edge
of the stage playing soulfully... Quite a few of the
tunes ending in the same ensemble accented, staccato'd
major chord cadences... and a bizarre segue to a rock
backbeat section with Bm A G A wash chords overwhich
Pat solo'd with a distorted sound...
Moments from a few of the Still Life (Talking) & Letters
From Home albums were very cool.
I won't take up anymore bandwidth in *Atavachron* with
Metheny, but should anyone like to discuss this further
they can contact me directly :)
freedman@mprgate.mpr.ca
-------------------------------------------------------------------------------
Date: 05 Oct 1992 17:38:36 +0000
From: "OUT, OUT - YOU'LL NOT FEEL THE FALL-OUT..."
Subject: About Steve's thoughts
Hi all,
I would like to say something about Steve Monroe's intervention
of Oct 1st. I am not really into the Holdsworth thing (I subscribed to
see how the list works (and, Jeff!, it's a great list :) ) and because
the very little slice of AH's career I've been able to check was exci-
ting enough to convince me to try to nail down some records of his.
Steve says, with regards to the famous chat Chris had with the
man:
> This exchange makes me feel as though Alan is on the very precipice
> of chucking the whole thing. Since Alan has been in the music biz
> a little more than 20 years, there is likely not much he hasn't
> been exposed to, so he may just be a realist with comments like,
> "Because when the show gets cancelled, they just drop you." But at
> the same time, I can't help but think that he is extremely
> frustrated with his situation. Who can blame him? I don't know if
I stress it again, I am not an AH's guru, but my opinion is
that he's not on a precipice. Let me explain.
There are basically two music worlds: the one of corporate
artists, who get airplay, advertisement, MTV, and so on; and that of
more or less independent artists, who get often cornered into the
curious position of "cult artists". It seems to me that AH is one
of these.
Being isolated is not necessarily bad. Usually these artists
can count on a lively, solid and serious fanbase who will buy their
records and follow their careers whatever may happen. I am talking
about a group of very dedicated people (like those on this list) who
will sort of help the artist's effort by spreading the word, letting
others know, and so on.
Being a musician and a recording artist myself, and falling
in the second category (I have my own label, and I've managed to get
just one CD out after something like 11 tapes and 6 years of silent
efforts who were never given any attention by anyone involved in the biz)
I think I know something about the pitfalls and the problems of self-
production. Most of all when you take into account that the real pro-
blem is marketing oneself! (and no marketing means no money at all;
no money usually means no food; and no food means changing job -- end
of the story).
What you should keep in mind is that the HUGE fatigue (Metal
Fatigue... :) ) of pitching oneself to the audience is often better
paid than the relatively small one of those artists who have a strong
and dedicated technical/commercial/economical support behind their
backs. It's all in absolute terms, of course, but the risk of selling,
say, 10,000 records with a self-production is far more rewarding than
selling the same figure with an independent label -- even with a major.
A certain kind of figures can show up only in a very compromising mar-
ket situation -- in other words, when 10,000 records become 1,000,000
there is usually something that breaks *inside* the artist.
What I say might sound very unpopular, but an artist who finds
a certain amount of problems when he tries to propose himself to the
audience usually produces better works than an artist obsessed with the
thought of being like the audience wants.
This is, I think, the only serious weapon an independent has:
honesty.
> packaging. Based upon the comment, "That's probably the way it
> always will be", Alan seems to have somewhat accepted the idea
> that he will never get much radio exposure. This, along with all
> the muck he has had to put up with from his record label(s), and
> management over the years makes me wonder if he is nearing the end
> of his professional music career. I played music as a full time
> profession for only five years, and I am absolutely amazed that
> Alan has lasted this long. Record companies are not interested in
> innovation. They want something that will SELL dammit, and FAST.
Absolutely true. Absolutely. But the typical counterexample,
which has nothing to do with AH, is Peter Hammill (this name may ring
a bell to some of you, but it is musically ininfluent in this con-
text... I use it simply because I know him well and I know how his
situation is): he's been the producer of more or less all his records
in the last 20 years. He's been on Charisma (Virgin, in practice) for
years, then on Enigma, and then he was alone. None would sign a decent
contract to him, and so he had to choose: toss it all or a do "DIY thing"?
Being still in love with music he decided for the second way, and
started FIE!. FIE! is his own label. It is strictly run by himself alone,
with occasional help from his wife as I understand, and he was able to
release three (three!) albums (two old "lost" records of his and one new)
in six months and sell them out. How? With a clever move of distribution
and license. Sure, he wasn't supposed to sell 1,000,000. But the latest
CD, called "Fireships", was issued in March and was going towards 20,000
copies in July. I would immediately say yes to such a situation, wouldn't
you?
If you take pencil and paper, you may even see that selling
20,000 copies whose costs are low and gains are potentially very high,
one can live on it. And what a life!
I deliberately asked Peter whether he feels frustrated by the
idea of being on his own after 25 years. He replied: "frustrated?!? I
am *free* at last!".
So, I don't think pessimism is mandatory. And, Steve, I DO
wish you can enjoy the music of this artist you like for years and
years and years... in this perspective, though :)!
Thanks for following my ramblings.
Ciao, Marco
-------------------------------------------------------------------------------
Date: Tue, 6 Oct 92 01:40:04 CDT
From: tmadson%pnet51.orb.mn.org@harvunxw.BITNET (Todd Madson)
Subject: Holdsworth Stuff
Regarding "Wave" formats: YECCH! Supposedly, according to Al DiMeola, you
must keep your songs "mellow" and "not energetic" or you won't get played.
According to DiMeola, the programmers told him that they want it so that
some yuppie can go home and drink a martini and relax, instead of getting
worked up with "frantic fusion". Scott Henderson's new Tribal Tech album,
"Illicit" has a song called "The Big Wave" which is supposedly a parody of
Wave style music, but degenerates into "frantic fusion". Personally, I'm
sick of it all. I want to hear more and more energetic and powerful, yet
cerebral stuff. Yet, the kids out there want to hear music played by
people who look "cool." They'd only give two shits about Holdsworth and
the like if he wore a spandex tutu. Yecch. At the same time, it's just
difficult to deal with waiting 3 years for new Holdsworth recordings. He
really needs some sort of financial independence, ala Steve Morse, or like
Allan's gig with Level 42 or something.
UUCP: {amdahl!bungia, crash}!orbit!pnet51!tmadson
ARPA: crash!orbit!pnet51!tmadson@nosc.mil
INET: tmadson@pnet51.orb.mn.org
-------------------------------------------------------------------------------
Date: Fri, 9 Oct 92 20:43:01 PDT
From: edju@aludra.usc.edu (Dr. Hannibal Lecter)
Subject: The perfect gift for The Brewer...
I ran across this book in a mail-order catalog:
"Brewing the World's Great Beers - A Step-by-step Guide by Dave Miller"
(Could this be the owner of Miller Draft?!)
The book's author wrote several books on home brewing and is a winner
of the prestigious Homer Brewer of the Year award. The book covers every kind
of beer from "simple British ales to sophisticated German lagers." The book
is also great for beginning or intermediate brewers. The book was on sale for
$10.95 (Publisher's price is $12.95) and I think this will make a great gift
for Allan (for those of you who have no idea what I am talking about, a
mandatory reading of "Reach for the Uncommon Chord" is in order.)
What do you guys think of this idea?
Eddie
-------------------------------------------------------------------------------
*** End of Atavachron Digest ***
To have your posting distributed in the next issue of Atavachron,
send your posting to:
atavachron@morekypr.morehead-st.edu
Administrative requests should be addressed to:
preston@morekypr.morehead-st.edu
All comments made here are the views of the individual
contributors.
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Received: by UKCC (Mailer R2.08) id 6300; Sat, 17 Oct 92 10:05:01 EDT
Date: Sat, 17 Oct 92 10:00:02 EDT
From: atavachron@morekypr
Subject: Atavachron Digest #28
To: Jeff Preston
Atavachron Digest - The Allan Holdsworth Discussion List
Volume 2, Number 28
Saturday October 17th, 1992
TODAY'S TOPICS:
==============
Allan in Alexandria
Re: Atavachron Digest #27
Re: Alan Holdsworth dates
Henderson
Scott Henderson
Re:discography
guitar synth features
1993 Whole Guitar Book
-------------------------------------------------------------------------------
Date: Mon, 12 Oct 92 9:36:00 EDT
From: Kingsley Durant Jr
Subject: Allan in Alexandria
Some thoughts on Allan's show in Alexandria, VA 10/7/92
(Not exactly a review...)
I caught myself thinking, both during and after the show, that
Allan hasn't really gone anywhere in terms of his presentation
since the first IOU gig I saw in Boston in '82. His guitar
playing has improved tremendously (how is that possible?!) but
the timbres, dynamics, and even the compositions, are basically
the same as they were back then. Not that I don't like them--
to the day I die, I'll remember how the opening tune, "Where Is
One", blew me away back then. But I think that this, more than
record business machinations, is what limits Allan's audience.
As much as Allan has a uniquely adventurous take on melody,
harmony, and rhythm, there's something missing from his overall
presentation, that Satriani and Vai, and even DiMeola, seem to
have. I'd love to sit down over a beer and talk about this
with Allan sometime, but it's been hard to get a word in
edgewise over my fellow fans, who seem to constantly say and
ask the same things. Ah well...
Allan's single comment from the stand was that the
sound took the prize for the absolute worst ever. This was
dismissed by the crowd, but I've been there and I know how he
feels. He said after the show that it was so bad that all he
could do was play his usual patterns and licks. As much as
they amaze and delight US, they're as old hat to Allan as those
pentatonic licks are to most of the rest of us. It must get
tiresome to continually have to deal with small clubs' lousy PA
systems, although I've seen Allan have sound problems at nice
places with good PA's (e.g. Boston's Berklee Performance
Center, 1985, when, by the way, Danny Gottlieb, sat in on the
drums. Bad night for Allan, very bad. He opened for Al
DiMeola, and Al D. blew him away.) But that's the problem with
using distorted guitar tones-- there are a lot of variables you
can't control, so some nights are just going to suck. Allan
and the band gamely played on, and there were moments (notably
when Husband stopped playing entirely during the second chorus
of the keyboard solo on "Devil") when they forgot abot the bad
sound and just burned.
The choice of tunes was much to my liking. Allan
called only two tunes all night! There were some nice
surprises-- opening with "Looking Glass" (my #1 fave), doing
"Proto-Cosmos" instead of the obvious ("Fred" or "Mr Spock")
from the Tony Williams LP, a frightening version of "Pud
Wud"...The tunes which, on record, feature synthaxe, sounded
refreshing with Allan's chord-melody work and Steve Hunt's
synth backing them up. Solos, in general, seemed a bit
mechanical and less that inspired. During "Devil", Steve
copped several runs verbatim from Allan's solo on the record.
I mentioned it to Steve afterwards (tactful guy that I am) and
he just laughed and said he didn't really notice. Allan was
pretty well into it considering it was an off-night for him,
and played really great solos in "Pud Wud", "Funnels", and
"Devil."
Thoughts on the Husband controversy: First, I'm in the
"I like Gary" camp, although I like Wackerman a lot too. (I
didn't like Dan Gottlieb.) I talked to Gary after the show,
and my impression was that he had been drinking, which may
account for the sloppiness factor. His solo on "Letters of
Marque" was truly tiresome-- but then I find all unaccompanied
drum solos that way, unless it's Jack DeJohnette. Gary also
lost it during "The Things You See" where the word "ponderous"
came to mind to describe the "groove" he and Skuli attempted to
create under the solos. I dunno... he's unique, and he really
listens and responds to the rest of the band, but he can be
erratic at times.
Well, that's about half of what I had to say, but it's
already too much to fit. I'd love to hear Allan's responses to
some of the things everyone has to say-- is he on the
conference?!
<>
-------------------------------------------------------------------------------
Date: Mon, 12 Oct 92 8:10:11 PDT
From: Kyle Wohlmut
Subject: Re: Atavachron Digest #27
Re: The perfect gift for the brewer...
Not only that, but it's come to my attention that they now have 'Draught
Boddingtons in Cans' (reputedly one of Holdsworth's favourite beers)
available, with the magic 'smoothifier'-device (a la the new Guinness cans)
inside (speaking as a beer nut, trust me that this thing makes the beer
MEGOR!). Trouble is they're only available in England... but something to
think about for next year, if anybody on the list is IN the UK, or happens to
be going there sometime over the next year, make it known and I'll tell you
where to look for the stuff, and you can smuggle a few cans back over the
border...
/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-/-
/
/''' - i am as sad as the song
c-OO Kyle Wohlmut / of a soudanese jackal
\ (actual size) - who is wailing for the blood red
- / moon he cannot reach and rip
-
-------------------------------------------------------------------------------
Date: Tue, 13 Oct 92 07:57 EDT
From: Jeff Hunnicutt/System Services/395-3808
Subject: Re: Alan Holdsworth dates
Hi Jeff,
I saw Holdsworth Saturday night in Wilmington, N.C. It was an outdoor festival
on the ocean. The show was simply incredible! He played a variety of selections
from his albums. He took a request from the audience playing "Devil Take The
Hindmost". He closed the show with "Metal Fatigue" which really surprised me.
He, Gary Husband, and Skuli roamed the crowd while the opening acts played.
I introduced myself to him and mentioned Atavachron to him. He seemed quite
amused at this saying that we were everywhere and thanked us for our support.
He expressed concern for the sound that night, which turned out fine. The show
lasted around 2 hours. Addressing concerns over Husband's drumming, all I can
say is, he was ON when I saw him. This is one incredible band. I count myself
lucky to have seen them. My prize for the evening was an autographed ticket.
I can only hope I have the chance to see him again.
--jeff hunnicutt
-------------------------------------------------------------------------------
Date: 13 Oct 92 16:20:13 EDT
From: James.D.Stoehr@Dartmouth.EDU
Subject: Henderson
Hello,
I was wondering if you have any info on a e-mailing list for Scott
Henderson and Tribal Tech. I saw your name in the news group and I figured
that anyone that listens to Holdsworth must know of Henderson.
I'm interested in anyone who knows of their music and knows of tour
dates.
Thanks,
Jim
-------------------------------------------------------------------------------
Date: 14 Oct 92 12:18:16 EDT
From: Michael Young <76526.1454@CompuServe.COM>
Subject: Scott Henderson
Scott Henderson gives special thanks to Allan Holdsworth on the liner notes of
the excellent album "Dr. Hee", recorded with Tribal Tech. Does anyone know if
these two exceptional guitarists have ever played together, or - better yet -
ever recorded anything together?
Michael
-------------------------------------------------------------------------------
Date: Wed, 14 Oct 92 08:02:48 PDT
From: napier@ames.UCSD.EDU (Jim Napier)
Subject: Re:discography
Recording your discography I can offer some small help. I have Bruford's
"One Of A Kind" and Tony Williams' "Believe It" (and perhaps Million Dollar
Legs). I could send you a listing of the songs Holdsworth plays on from
them.
Jim Napier
UC San Diego
-------------------------------------------------------------------------------
Date: Fri, 16 Oct 92 13:57:13 PDT
From: malcolm@wrs.com (Malcolm Humes)
Subject: guitar synth features
I found I have an old GUITAR PLAYER related mag - GUITAR SYNTH AND MIDI
special issue with Andy Summer, Fripp, DiMeola, Zappa, Holdsworth,
McLaughlin, Steve Morse and Lee Ritenour all chatting about guitar
synths. It was a "Holiday '87" special "collectors edition" issue.
Tech talk mostly, about equipment now pretty dated, and a bit about
technique.
Here's an interesting quote from Allan:
"I don't, however, use the vibrato bar very much. That's because the way
the vibrato sounds on a guitar synthesizer is similar to the way a pitch-bend
wheel sounds on a keyboard synthesizer. And I think those things should be
taped over anyway. Whenever I see a keyboardist using one of those on stage,
I just want to jump up and put some duct tape over the wheel. It drives me
crazy." He goes on to describe how he gets finger vibratos instead, and
so on...
- malcolm@wrs.com
-------------------------------------------------------------------------------
Date: Fri, 16 Oct 92 19:47:48 EDT
From: PRESTON@morekypr.bitnet
Subject: 1993 Whole Guitar Book
Just got the November '92 issue of Musician magazine, and on page 99
there's a full page ad for Musician's "1993 Whole Guitar Book" -- the
cover of which would appear to feature Joe Satriani and Allan Holdsworth.
The ad states (in part), "Joe Satriani asks, 'Where would we be without
Allan Holdsworth?'" I think this may answer the question posed by Paolo
Valladolid in reference to why Satriani was holding what looked like
Allan's guitar in the October '92 issue of Musician; the background of
the photo looks identical to the previous photo, so it seems reasonable
to believe they were taken on the same photo shoot. For anyone who has
trouble finding these kinds of things on their bookstore or newsstand
shelves, you can get one for $4.95 ($5.95 outside the U.S.), post-paid,
by writing to:
The Whole Guitar Book
33 Commercial Street
Glouster, MA 01930
FYI: A friend of mine just downloaded Noteworthy Music's latest new
release data via their ROEG software -- still no sign of _Wardenclyffe
Tower_ . This latest update included new releases through 11/17/92.
Jeff Preston
-------------------------------------------------------------------------------
*** End of Atavachron Digest ***
To have your posting distributed in the next issue of Atavachron,
send your posting to:
atavachron@morekypr.morehead-st.edu
Administrative requests should be addressed to:
preston@morekypr.morehead-st.edu
All comments made here are the views of the individual
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-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Received: by UKCC (Mailer R2.08) id 5619; Mon, 19 Oct 92 00:14:23 EDT
Date: Mon, 19 Oct 92 00:00:02 EDT
From: atavachron@morekypr
Subject: *** Atavachron Update -- Wardenclyffe Tower ***
To: Jeff Preston
Atavachron Update
Tuesday September 22nd, 1992
-------------------------------------------------------------------------------
Date: Sun, 18 Oct 92 22:35:01 -0400
From: rardin%cygnus.dnet@auriga
Subject: IT'S HERE!
The waiting is over! It's finally here! I picked up a copy of WARDENCLYFFE
TOWER at Tower Records in Boston tonight!
-Lynn
[Moderator's note: I thought everyone would want to know, so I decided
to go ahead and pass Lynn's news along (thanks, Lynn!). He speculated
via e-mail that Tuesday, 10/21/92 may be the official release date,
but that the Berklee crowd may have influenced an early release there
in Boston (directly or indirectly). -- J.P.]
-------------------------------------------------------------------------------
*** End of Atavachron Update ***
To have your posting distributed in the next issue of Atavachron,
send your posting to:
atavachron@morekypr.morehead-st.edu
Administrative requests should be addressed to:
preston@morekypr.morehead-st.edu
All comments made here are the views of the individual
contributors.
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Received: by UKCC (Mailer R2.08) id 4333; Wed, 28 Oct 92 04:45:11 EST
Date: Wed, 28 Oct 92 04:30:02 EDT
From: atavachron@morekypr
Subject: Atavachron Digest #29
To: Jeff Preston
Atavachron Digest - The Allan Holdsworth Discussion List
Volume 2, Number 29
Wednesday October 29th, 1992
TODAY'S TOPICS:
==============
Dave Stewart
Re: Allan in Alexandria (not really)
Ssssshhh
*unknown*
_Wardenclyffe Tower_
-------------------------------------------------------------------------------
Date: Mon, 19 Oct 92 8:00:27 PDT
From: ee152fcy@sdcc15.UCSD.EDU (Paolo Valladolid)
Subject: Dave Stewart
I finally found a CD by the group Bruford at Tower and promptly
picked it up. This is _One of a Kind_. I really liked the sounds and
playing of Dave Stewart. I've been familiar with him as a _Keyboard_
columnist ( his column is sort of Keyboard's version of Robert
Fripp's Guitar Craft column, full of highly individual views and
philosophy on music ). I've read that since the breakup of Bruford,
Stewart has stylistically moved away from fusion in a more "pop"
direction ( *not* with the Eurythmics ;-)).
I've only heard the CD once and I already like Steward more than any
other keyboard player I've heard with Holdsworth.
Any recommendations of must-have Stewart records would be
appreciated.
Cheers,
Paolo
-------------------------------------------------------------------------------
Date: Wed, 21 Oct 92 07:43:56 EDT
From: DLane@CRD.lotus.com
Subject: Re: Allan in Alexandria (not really)
In digest #28, Kingsley Durant Jr wrote:
> It must get tiresome to continually have to deal with small
> clubs' lousy PA systems, although I've seen Allan have sound
> problems at nice places with good PA's (e.g. Boston's Berklee
> Performance Center, 1985, when, by the way, Danny Gottlieb,
> sat in on the drums. Bad night for Allan, very bad. He opened
> for Al DiMeola, and Al D. blew him away.)
I cannot disagree more. I was there, and although Gottlieb was a
last-minute stand-in in Holdsworth's band, which that evening was
an instrumental trio with Jimmy Johnson, they were fantastic. My
brother managed to get parts of both AH's & AD's sets on tape, and
save for some of the interesting interplay between Al and Airto
Moreira, the Holdsworth set was far more adventurous. Sure, they
were rough around the edges at times, but that made it all the
more interesting. I can't see how you could characterize it as a
bad night at all. The only thing "bad" about the concert was the
unavoidable whooping adolescent guitar weenies in the crowd.
- - -
Dave Lane, Lotus Development Corp.
For replies, please use: dlane@ldbvax.lotus.com
or david_lane.lotus@crd.lotus.com
(The address in the header probably won't work)
-------------------------------------------------------------------------------
Date: Tue, 27 Oct 92 15:56:34 PST
From: Kyle Wohlmut
Subject: Ssssshhh
This list has been awfully quiet lately... what, has everyone been home for
the last two weeks listening to their copies of 'Wardenclyffe Tower?' That
good, eh?
/ i am as sad
/''' - as the song
c-OO Kyle Wohlmut / of a soudanese jackal
\ (actual size) - who is wailing for the blood red
- / moon he cannot reach and rip
-
-------------------------------------------------------------------------------
Date: Tue, 27 Oct 92 16:25:05 PST
From: freedman@mprgate.mpr.ca (Elliot Freedman)
Subject: *unknown*
To all _Atavachron_ subscribers,
Some weeks ago Jeff Preston was kind enough to review my tape for
_Atavachron_. I really appreciated the response from those who wrote me
with requests for the tape! It's great to have a chance to share the music
with people who might really _listen_ to it!
If you are interested in a copy, please drop me a line with your name and
address. Pricing my music is a new concept to me, but I have been advised that
$10 (US) ($12 CDN) per copy would be fair. It can be forwarded to me in either
cheque or money order.
Thanks for your interest! I look forward to hearing from you.
Elliot E. Freedman
#101 - 1385 W. 12th Avenue
Vancouver, British Columbia
Canada V6H 1M2
+1 604 293 6034
+1 604 731 7725
freedman@mpr.mprgate.ca
-------------------------------------------------------------------------------
Date: Wed, 28 Oct 92 00:21:40 EDT
From: PRESTON@morekypr.bitnet
Subject: _Wardenclyffe Tower_
I've been lucky enough to have received a copy of _Wardenclyffe Tower_
with the help of an anonymous benefactor (okay, okay! It was Lynn Rardin,
but please don't flood him with requests for copies -- it should be
available outside of Boston soon, I'm sure!), and have been spending some
time listening to it over the last few days. Like _Secrets_, I think this
album will take some time for me to fully appreciate, but I have a good
overall impression of it so far.
As usual, there are a mix of tunes here... ballads ("Zarabeth," "Sphere
Of Innocence"), up-tempo numbers ("5 To 10," "Dodgy Boat," and "Questions"),
and a few which aren't easily described by words alone. This last catagory
encompasses the title track -- an epic of sorts, which I'm having a hard
time warming up to, btw; "Against The Clock," which features the beautiful
voice of Naomi Star; and "Oneiric Moor," which is a (too-) short solo
guitar piece which may evoke memories of "Shallow Sea." I know that after
hearing the latter, I have no trouble imagining Allan and Adrian Belew
doing a tune together.
I don't really want to say which tunes are my favorites on the album
so far... for one thing, I'd rather get everyone else's reaction to the
album as a whole, and hear your commentary before I throw in my opinions
too vigorously. Just do me a favor and don't look at the credits, etc.,
until you've listened to the album from beginning to end a couple of
times... this is the way I listened to _Wardenclyffe Tower_ the first
day, and I was surprised by how un-surprised I was once I saw who wrote
and played which tunes.
_Wardenclyffe Tower_ doesn't exactly break new ground; in fact, I
think it invites strong comparison to Allan's last three albums. But it
at least reminds me of the strongest moments from the three previous
ones. Check it out as soon as your favorite record store gets it in stock.
Remember, dozens of phone calls each day can't hurt. :)
Jeff Preston
-------------------------------------------------------------------------------
*** End of Atavachron Digest ***
To have your posting distributed in the next issue of Atavachron,
send your posting to:
atavachron@morekypr.morehead-st.edu
Administrative requests should be addressed to:
preston@morekypr.morehead-st.edu
All comments made here are the views of the individual
contributors.
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Received: by UKCC (Mailer R2.08) id 5545; Sat, 31 Oct 92 02:12:49 EST
Date: Sat, 31 Oct 92 02:00:05 EDT
From: atavachron@morekypr
Subject: Atavachron Digest #30
To: Jeff Preston
Atavachron Digest - The Allan Holdsworth Discussion List
Volume 2, Number 30
Saturday October 31st, 1992
(one year and still goin' strong!)
TODAY'S TOPICS:
==============
Re: Dave Stewart
RE: Holdsworth at Berklee
First impressions of WT
Re: Atavachron Digest #29
New Holdsworth CD
Sphere of Innocence/Baritone Guitars
Tony Williams Lifetime
More touring info / Atavachron's first year
-------------------------------------------------------------------------------
Date: Wed, 28 Oct 92 10:38:12 -0500
From: barrett@astro.cs.umass.edu (Daniel Barrett)
Subject: Re: Dave Stewart
>From: ee152fcy@sdcc15.UCSD.EDU (Paolo Valladolid)
>Dave Stewart. I've been familiar with him as a _Keyboard_
>columnist...
My favorite _Keyboard_ column in the past few years!! He's
great; what a refreshing change from the rest of the magazine.
>I've read that since the breakup of Bruford, Stewart has
>stylistically moved away from fusion in a more "pop" direction...
A typical album of this style is Stewart and (Barbara) Gaskin's
"Up From The Dark". It's got more substance than typical pop, and at
times a nice sense of humor, and Barbara's beautiful voice, but it's
a far cry from his better stuff. I think his stuff is released on
Rykodisc.
>Any recommendations of must-have Stewart records would be appreciated.
Dave Stewart has played with Egg, Hatfield and the North, and
National Health. All of these bands played progressive rock in the
"Canterbury" style (a la Camel and Caravan). Two Hatfield CD's are
available domestically and as Japanese imports, and they are both
good: "Hatfield and the North" and "The Rotter's Club". Hatfield also
features the warm and whimsical vocals of Richard Sinclair (from
Caravan), one of my favorite male vocalists in prog rock, and the
albums have a light and humorous feel to them.
"National Health Complete" is a 2-disc collection of,
literally, the complete works of National Health. NH is more
virtuosic than Hatfield, and features some really wicked keyboard
work. I highly recommend this album, which is on the ESD (East Side
Digital) label, and is possibly the longest double-CD in existence.
Both discs have over 79 minutes of music!
I haven't heard much Egg. The little I heard sounded rather
archaic and poorly recorded, but Egg has some real fans out there.
Dan
//////////////////////////////////////\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
| Dan Barrett -- Dept of Computer Science, Lederle Graduate Research Center |
| University of Massachusetts, Amherst, MA 01003 -- barrett@cs.umass.edu |
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\/////////////////////////////////////
-------------------------------------------------------------------------------
Date: Wed, 28 Oct 92 10:42:26 -0500
From: rardin%cygnus.dnet@auriga
Subject: RE: Holdsworth at Berklee
>In digest #28, Kingsley Durant Jr wrote:
>
>> It must get tiresome to continually have to deal with small
>> clubs' lousy PA systems, although I've seen Allan have sound
>> problems at nice places with good PA's (e.g. Boston's Berklee
>> Performance Center, 1985, when, by the way, Danny Gottlieb,
>> sat in on the drums. Bad night for Allan, very bad. He opened
>> for Al DiMeola, and Al D. blew him away.)
>
>I cannot disagree more. I was there, and although Gottlieb was a
>last-minute stand-in in Holdsworth's band, which that evening was
>an instrumental trio with Jimmy Johnson, they were fantastic...
>...and save for some of the interesting interplay between Al and Airto
>Moreira, the Holdsworth set was far more adventurous...
>- - -
>Dave Lane, Lotus Development Corp.
I couldn't _agree_ with Dave more. I was at the Berklee show, too, and
actually thought Gottlieb pulled off sitting in with Allan pretty well (I'd
probably even say that I was impressed with his performance). And I have to
say that the Di Meola half of the show didn't do much at all for me. Allan's
performance was much more exciting for me.
-Lynn
< R. Lynn Rardin (rardin@auriga.rose.brandeis.edu) >
< Rosenstiel Basic Medical Sciences Research Center >
< Brandeis University, Waltham, MA 02254-9110 >
-------------------------------------------------------------------------------
Date: Wed, 28 Oct 92 23:37:03 PST
From: edju@aludra.usc.edu (Dr. Hannibal Lecter)
Subject: First impressions of WT
IT SUCKS!!!
Just kidding. Actually it was not as impressive as I expected it to
be. However, it was a surprise to hear the first distorted power chords since
Metal Fatigue. Personally my favorite album was Atavachron, therefore a
comparison between WT and Atavachron was inevitable. I only heard WT twice so
far, but my impression was that the tunes on WC resembles Secrets a lot, and
most of them were not as focused as, say, songs off Atavachron or Metal Fatigue.
As Jeff said, it was a pleasant surprise to hear such beautiful vocals on
"Against the Clock" - however, the vocals dropped out after a verse or two,
and we're left with your regular Holdsworth solo jams. Exactly the same
structure as the title song of Secrets. He'd have more luck if he writes
more vocal songs like "In the Mystery" or "Panic Station" for the radio.
What's with the new logo, anyway? I could have done a better job.
Eddie
-------------------------------------------------------------------------------
Date: 29 Oct 1992 09:52:06 -0500 (EST)
From: Surf Rancisdrake
Subject: Re: Atavachron Digest #29
Re: Dave Stewart:
Christ you don't know what you've been missing!!! All the Hatfield and the
North albums are absolutely essential listening! Consisting of: 'Hatfield and
the North' and 'The Rotters Club'. There is also 'Afters', which has some
outtakes and maybe a couple of new tunes, really good too. Before Hatfield, he
was with Mont Campbells band 'EGG'. 'The Civil Surface' (at least) is available
on CD. You can hear the Keith Emerson influence here. It's really great.
After Hatfield his band was National Health, also MUST GET!!! 'National
Health', 'Of Queues and Cures' and 'DS. Al Coda', which is dedicated to Allan
Gowen, the other N. Health keyboardist, who died of leukemia a few years back.
If you like DS you will probably like AG too, although he generally isn't as
'cutting'. His band was 'gilgamesh', worth checking out (2 albums I think, one
with the snakes and ladders cover and the other with the monster). Gowen also
did a pretty good record with Hugh Hopper called 'Two Rainbows Daily'. His
last album 'Before a word is said' is great. Other Dave Stewart: guested on
'Goulies' album 'Dogged by Dogma', of course the bruford stuff, and the solo
stuff with Barbara Gaskin (formerly of 'the northettes'), which I don't
particularly like. If I was just going to get 2 albums I'd pick up 'Hatfield
and the North' and 'Of Queues and Cures'. It's amazing how these have stood the
test of time. Oh, I forgot to mention Caravan, and hatfield bass player
Richard Sinclair. All this stuff is considered 'the canterbury scene', there is
an interesting pictorial geneology in the Soft Machine reissue 'echoes'
(I think). Christ I haven't even mentioned Robert Wyatt! Sorry this is a ramble,
I'm on Tylenol cold.
-------------------------------------------------------------------------------
Date: Thu, 29 Oct 92 19:51:45 CST
From: tmadson@pnet51.orb.mn.org (Todd Madson)
Subject: New Holdsworth CD
I picked up WardenClyffe Tower today in Minneapolis at the Northern Lights in
Bloomington - also saw copies at the Electric Fetus (yes, it's a record store)
in Minneapolis, as well as copies of his other works on disc as well.
>From what I've heard so far, I like it. The sense of humor on 5-to-10 caught
me off-guard big-time. I jumped when the guy yelled "HEY!" over the music!
More later.
UUCP: {amdahl!bungia, crash}!orbit!pnet51!tmadson
ARPA: crash!orbit!pnet51!tmadson@nosc.mil
INET: tmadson@pnet51.orb.mn.org
-------------------------------------------------------------------------------
Date: Thu, 29 Oct 92 19:59:14 CST
From: tmadson@pnet51.orb.mn.org (Todd Madson)
Subject: Sphere of Innocence/Baritone Guitars
I really enjoyed the chording on this tune - very nicely enunciated and
a nice progression meshing with the bass guitar. Great! It's still a
little new, but the album surprised me in a way - I guess I didn't expect
him to continue evolving in certain areas. Get it if you can.
UUCP: {amdahl!bungia, crash}!orbit!pnet51!tmadson
ARPA: crash!orbit!pnet51!tmadson@nosc.mil
INET: tmadson@pnet51.orb.mn.org
-------------------------------------------------------------------------------
Date: Fri, 30 Oct 92 22:09:25 -0500
From: rardin%cygnus.dnet@auriga
Subject: Tony Williams Lifetime
All of you Holdsworth completists will be happy to know that the recordings by
Tony Williams Lifetime that feature Allan, MILLION DOLLAR LEGS and BELIEVE IT,
have just been reissued as part of Columbia's/Legacy's Contemporary Jazz
Masters series--on one CD called THE COLLECTION. Now if I can just get over
the fact that I got burned on a $26 Japanese import of MDL. :(
-Lynn
-------------------------------------------------------------------------------
Date: Sat, 31 Oct 92 01:29:48 EDT
From: PRESTON@morekypr.bitnet
Subject: More touring info / Atavachron's first year
Since I hadn't heard anything from Akira Yada or Reed Sherman lately,
I decided to give Allan a call again Thursday evening to see what I could
find out about those rumors of U.S. west coast dates for November, etc.
I got to speak with Claire, and she said Allan would not be playing
California and the west until around February, and that he and Akira were
working on the details now. Next up will be a few dates in Argentina in
the middle of November, and then almost immediately after that, a week-long
tour of Japan. I asked about Australia, and Claire said at the time, no
plans were on the board for a tour "down-under." She said the freight
charges were very high, and that Restless was showing no real interest in
footing the bill.
After the California and western U.S. shows in February, the plans are
the same as last year -- a European tour in March-April -- but nothing has
been finalized just yet.
Claire also reiterated Allan's intent to do the Atavachron interview
with Anil Prasad, and Anil in fact just let me know that Allan called
him up on Friday, so the delays on that are coming to an apparent end.
I'm sure Anil will appreciate my asking you to be patient in sending your
requests -- he will post the transcription to Atavachron as soon as he
can, and that may be January or thereabouts due to Allan's planned
schedule (and approaching holidays, of course).
Anil has also informed me that Restless has no distribution in Canada,
so we may have another project in hooking up people with CDs shortly. It
would be a great gesture if people would like to volunteer to help people
outside the U.S. in obtaining these hard-to-find items of Allan's (I'm
trying to help a couple of people in the U.K., but we might cover more
territory if more folks were interested in working out trades, etc.). If
anyone would like to find a foreign "swap-pal," please let me know...
we'll see if it works out.
Also, _Wardenclyffe Tower_ has been added to Noteworthy's list of new
releases in their ROEG database, so it is available throughout the U.S. at
this point. If anyone needs their address/phone, etc., just drop me a line.
Today marks the beginning of Atavachron's second year, and I can't
thank you people enough for hanging in there and contributing all you
have to the success of the list. It's certainly turned out to be much
more than I dreamed possible... if nothing else, it strengthens my
conviction that these globe-spanning computer networks really *are*
the powerful tool I've believed them to be ever since I've known of
them. The speed and ease at which we can distribute information and
organize plans of action, and the area of coverage which we enjoy would
have been unheard of just a decade ago. Please folks, if nothing else,
don't take that for granted, because I honestly think this power could
be used to right a few wrongs if only more people would make a small
effort.
A friend of mine recently sent me the following note, and I asked him
if I could pass it along to you. I think the message in it is very clear,
and I hope it will inspire everyone here to think about a power which
we all posess, but rarely use.
-=O=-
From: REWOICC%ERENJ.BitNet@pucc.PRINCETON.EDU ("l.l. cool bean")
Subject: there is hope
yo...
have hope. just by using the net to spread the word and encourage people
to call radio stations, a group of us have basically made an artist's
career take off to where she got invited to perform at a benefit that
included 10,000 maniacs (amongst others) in philadelphia and had her
last album get added to many a station's playlist. it was all grass roots
efforts too: we just spread the music by talking about her a lot and
then making it know how to get the music (had to mailorder it in fact,
so holdsworth got a definite advantage over her already - people can
at least buy his stuff in a decent store). friends in real life and on
the net responded so strongly that they called radio stations and record
stores and it's now possible to find her stuff in all sorts of weird
places. hell, i just heard that she gets airplay in portland, maine for
gods' sake. and i get warm and fuzzy inside when people tell me about
this great new singer they heard on the radio and suggest that i might
want to check her out. granted, she's not a top 40 showcase or something,
but she's light years ahead of the local albany, ny area singer-songwriter
that she used to be.
allan's already got a strong fan base and a distribution deal. he's far
ahead of happy rhodes (that's her name), but that doesn't mean that you
can't make a difference either. make your voice heard on radio stations
and other places. write a review for your local paper. there's lots of
things you can do.
good luck!
woj
-=O=-
Thanks again for a fantastic first year!
Jeff Preston
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