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Atavachron Digest 1/93
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Thu, 07 Jan 93 01:16:12 EST
Date: Thu, 07 Jan 93 01:00:05 EDT
From: atavachron@morekypr
Subject: Atavachron Digest #37
To: Jeff Preston
Atavachron Digest - The Allan Holdsworth Discussion List
Volume 2, Number 37
Thursday January 7th, 1992
TODAY'S TOPICS:
==============
When & How, part II
Allan Holdsworth video
GP Interview
Quiet desparation
Wardenclyffe Tower impressions
Re: Allan in Guitar Player
-------------------------------------------------------------------------------
Date: Mon, 28 Dec 92 13:10:16 PST
From: edju@scf.usc.edu (Dr. Hannibal Lecter)
Subject: When & How, part II
I've seen Allan's face several times on the cover of Guitar Player
(when the magazine still had class) around 3-6 years ago. However, he remained
an enigmatic musician for me because none of my friends has any of his
recordings and I was hesitant to buy stuff from people I've never heard before.
It wasn't until about 3 years ago that, in a special section of Guitar
World, that I saw Allan Holdsworth's "Metal Fatigue" being listed as one of
Joe Satriani's favorite albums. I think the same album was listed by other
"axe-slingers" of the year (89, I believe) so Allan's credibility as a musician
became more substantiated for me, and I went out looking for the Metal Fatigue
CD. It was HARD! Finally I found a copy of Metal Fatigue at Tower Records in
West Covina, CA. Mind you, it was a tape, because I couldn't find it on CD. I
popped it in my friend's car stereo the moment I bought it, and I was rather
disappointed - the music was too "mellow" for someone who's been expecting
something like "Surfing with the Alien."
That tape sat on the shelf gathering dust for a couple of months until
summer vacation came around - I was bored out of my wits so I started listening
to Metal Fatigue again and gradually it grew on me - like all other AH solo CDs
I bought later on, with the exception of Atavachron, which I fell in love with
when I first got it.
As for the "When" part, I've already mentioned that before, I guess
I will spare those of you who's been reading Atavachron this time... :)
Eddie
-------------------------------------------------------------------------------
Date: Thu, 31 Dec 92 14:27:33 PST
From: edju@scf.usc.edu (Dr. Hannibal Lecter)
Subject: Allan Holdsworth video
It's finally here! In the Feb. 93 issue of Guitar for the Practicing
Musician (page 26) there's an ad for the REH video. It features AH's recent
tour band of Chad Wackerman, Steve Hunt, and Skuli Sverrissen. "This great new
video features Allan performing live in the studio with his band. Close-up
camera work lets you see what he does and how he does it. A classic video for
your collection!"
The video is (advertised) 75 minutes and lists for $49.95. Included
is an 86 page Booklet with standard notation and tab. The toll-free order
number is 1-800-628-1528. A $5.00 S&H is added per order.
Eddie
PS If anyone got a copy already, please tell us what's in the tape: are they
just live performances of some live favorites, or a deep analysis of Allan's
style and technique?
-------------------------------------------------------------------------------
Date: Mon, 4 Jan 93 18:40:27 PST
From: edju@scf.usc.edu (Dr. Hannibal Lecter)
Subject: GP Interview
Just got the new (Feb. '93) issue of Guitar Player. They finally did their
mandatory interview with Allan Holdsworth. Some "style analysis" (with tab) was
at
the end of the interview. I just got it in the mail, haven't read it yet but if
you guys don't feel like getting your own copies of the magazine I'll type a
synopsis of the interview (or better yet, get Jeff to do it!)
Eddie
-------------------------------------------------------------------------------
Date: Mon, 04 Jan 93 23:32:20 EDT
From: PRESTON@morekypr.bitnet
Subject: Quiet desparation
>Date: Sun, 27 Dec 92 10:07:11 -0500
>From: biffdebris@aol.com
>Subject: Wardenclyffe Tower History
>Tesla was a visonary genius, quite eccentric, and considered to be far ahead
>of his time. In 1887, he invented the 60Hz AC power system we still use in
>North America today, but sold the rights way too cheaply, received almost no
>royalties, and really never had any kind of real commercial success. I
>wonder if Allan sees his career following a similar path? He can't possibly
>think this latest CD to be his biggest failure!
Sadly, the parallels seem to fit. I don't think it's a case of Allan
seeing _Wardenclyffe Tower_ as his biggest failure; I think he was making
a comment on his career as a whole. While I can't disagree with his
observations, I have to agree with Jason Julyan, who feels that Allan's
constant pessimism is *in itself* a stumbling block to his success. In
this particular instance, the message is subdued, but pretty clear: Allan
Holdsworth appears to be a very bitter man who is uncertain of his place
in the grand scheme of things, or at least very skeptical. It's an
unfortunate situation, but one which has been repeated throughout history;
true innovation is often recognized too late to be of benefit to the
innovator.
In Allan's case, I think he's more disappointed in the general public's
failure to understand his music than he is in the level of his record sales.
If it were all a matter of money, I think a few phone calls to folks like
Joe Satriani would turn that tide -- Satriani would likely jump at the
chance to work with Holdsworth, and I'm sure Satriani could convince "the
powers that be" that such a collaboration should be promoted. I feel
reasonably certain that people like Peter Gabriel, Sting and others who
are producing what I would call "quality pop music," would not shrug off
an opportunity to work with Allan. While this wouldn't necessarily be the
optimum avenue for Allan's talents, such collaborations could be mutually
beneficial (and need neither exclude, nor eclipse, other projects).
But again, I don't think the financial aspects are what trouble Allan
most. I think that perhaps his expectations are set too high. Certainly he
has every *right* to have high expectations: the man's talent knows no equal.
But there are many such examples in every field; many people work to the
limits of their abilities in original and creative ways, and those efforts
often go under-rewarded. Yet in the struggle to put food on the table and
keep a roof overhead, situations such as these sometimes endure for entire
lifetimes. The music business just seems to me to be an extreme (and highly
visible) setting for this; for every deservedly successful artist you can
mention, I'm sure you can think of a half-dozen who merely rode the
coattails of a trend -- and you can probably come up with a couple of
purely contemptable instances of success for each deserving instance, as
well. In Allan's case, I think he could truly "have his cake and eat it
too," but I think he believes that would be taking the easy way out...
somehow a betrayal of his convictions.
At any rate, it's sad to think he would shoulder the burden of some
falsely-perceived inadequacy for so long a time. Hopefully Allan will find
a way to reconcile his musical vision with his need for acceptance. Perhaps
then he can enjoy a measure of satisfaction with himself regardless of his
material standing.
In other news: I'm waiting for word from Akira Yada on Allan's west
coast dates... these should be available within the week, so be watching
for (a possibly shortened version of) Atavachron #38.
Jeff Preston
-------------------------------------------------------------------------------
Date: Tue, 5 Jan 93 10:03:58 MST
From: stortek!Steve_Monroe@csn.org (Steve Monroe)
Subject: Wardenclyffe Tower impressions
I received "Wardenclyffe Tower" as a gift recently, and thought
that I would write my impressions.
My overall impression is that 'WT' is similar to "Secrets." The
difference this time is that Steve Hunt plays a much more major
role on the disc. I like 'WT', but DO have some criticisms (yeah,
yeah.)
First of all, Allan needs to get a different rhythm section. Chad
Wackerman and Gary Husband have extremely similar styles, and
Allan's music would benefit from a different 'feel.' Ever since
'IOU', Allan has used drummers of this ilk. It is time to move
on. Also, Jimmy Johnson is um... well....he's BORING, okay? He
has a dull tone, he is unimaginative in his lines, and(speaking as
a bassist that has been playing nearly 25 years either
professionally or part time) his solos are gawd awful. Allan
could really benefit by changing bassists (as soon as possible.).
I know that Jimmy is a studio ace, but he just doesn't keep up
with Allan's level of playing. Who would? well, I can think of at
least three that would make fantastic compliments to Allan's
style: Dominique di Piazza (currently with John McLaughlin), Percy
Jones (Brand X), and Lawrence Cottle (studio guy in UK). Also,
Alain Caron and Sylvain Gagnon would do well too, although the
first three would make a "better" fit. I left out players that
use slapping as a prominant part of their style(for example, Jonas
Hellborg, or Dave LaRue) because slapping wouldn't work at all
with Allan's music.
Next, Steve Hunt is a great player, I really enjoy his playing
but his style is so similar to Allan, that they really don't
contrast. It ends up being rather homogeneous.
Finally, perhaps what Allan needs to do is try the Shawn Lane idea:
play everything himself.
sjm
-------------------------------------------------------------------------------
Date: Wed, 6 Jan 93 9:38:43 PST
From: pvallado@sdcc13.UCSD.EDU (Paolo Valladolid )
Subject: Re: Allan in Guitar Player
The latest issue features an interview and lessons from Allan.
Significant announcements from Allan:
1. He wants to record an album of multi-tracked guitars featuring
the new long necked guitars.
2. He's all but abandoned the SynthAxxe. In its place is the new
controller made by San Diego-based Starr Switch company. He seems to
be very happy with it.
3. He's also very happy about his guitar playing (now *that's* a
surprise! ;-))
4. He's still debating whether he should look for another job
outside of music (hang in there, Allan!).
--
Paolo pvallado@sdcc13.ucsd.edu
Find notes that are joyful to you, play them at a fast tempo, and
people will get something out of them.
- John McLaughlin
Style doesn't signify a thing; it's just the way you do something
- Allan Holdsworth
-------------------------------------------------------------------------------
*** End of Atavachron Digest ***
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Administrative requests should be addressed to:
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=*=*=*=*=*=*=*=*=*=*=*= contributors. =*=*=*=*=*=*=*=*=*=*=*=
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Tue, 12 Jan 93 16:03:22 EST
Date: Tue, 12 Jan 93 16:00:08 EDT
From: atavachron@morekypr
Subject: Atavachron Digest #38
To: Jeff Preston
Atavachron Digest - The Allan Holdsworth Discussion List
Volume 2, Number 38
Tuesday January 12th, 1992
TODAY'S TOPICS:
==============
Interview Update (yet again)
Re: Atavachron Digest #37
Allan Holdsworth touring itinerary, February 1993
PAZ
jimmy johnson
AH Video etc.
-------------------------------------------------------------------------------
Date: Thu, 7 Jan 1993 02:08:11 -0500
From: wcsanil@ccs.carleton.ca (Anil Prasad)
Subject: Interview Update (yet again)
Sorry for the delay in this interview thing, but I haven't been
able to get ahold of Allan for the past 4-5 weeks! It's been
answering machine city, so I assume he's out of town or the
country for awhile.
I'll keep trying though....
-------------------------------------------------------------------------
Anil Prasad | "If Princess Diana ran the world -- which
----------------------------| she has the power to do -- child abuse
wcsanil@alfred.carleton.ca | wouldn't exist anymore."
wcsanil@ccs.carleton.ca | -- Sinead O'Connor
-------------------------------------------------------------------------
-------------------------------------------------------------------------------
Date: 07 Jan 1993 09:40:51 -0500 (EST)
From: "UNIX of course, now what was the question?"
Subject: Re: Atavachron Digest #37
> Also, Jimmy Johnson is um... well....he's BORING, okay? He
>has a dull tone, he is unimaginative in his lines, and(speaking as
>a bassist that has been playing nearly 25 years either
>professionally or part time) his solos are gawd awful.
Don't quit your day job.
-Tom O'Toole
-JHUVMS System Programmer
-ecf_stbo@jhuvms.hcf.jhu.edu
-------------------------------------------------------------------------------
Date: Sat, 09 Jan 93 02:22:24 EDT
From: PRESTON@morekypr.bitnet
Subject: Allan Holdsworth touring itinerary, February 1993
Akira Yada (Arrow Field Productions, Inc.) sent me Allan Holdsworth's
latest touring itinerary today. All the dates are in California, oddly
enough. The band will be Steve Hunt, Skuli Sverrisson and Chad Wackerman
on these dates, according to Akira's fax. Akira failed to mention what
*month* the dates were for, so I can only assume these are for February
(since the weekdays match up with the dates). Here are the dates:
Date City Venue
------------------------------------------------------------
Thu Feb 18 San Diego Belly Up
Fri Feb 19 Santa Ana Rhythm Cafe
Sat Feb 20 Los Angeles Roxy
Sun Feb 21 Long Beach Bogart's
Tue Feb 23 San Luis Obispo To Be Announced
Wed Feb 24 Santa Cruz Kuumbwa Jazz Center
Thu Feb 25 San Francisco Great American Music Hall
Fri Feb 26 San Jose Cabaret Club
Sat Feb 27 San Rafael New Georges
Sun Feb 28 Sacramento Cattle Club
Jeff Preston
-------------------------------------------------------------------------------
Date: Sat, 9 Jan 93 14:51:15 -0500
From: rardin%cygnus.dnet@auriga
Subject: PAZ
I saw a brief review of a recording by the European ensemble PAZ in the
January, 1993, issue of Cadence. The CD is called LOVE IN PEACE (Master Mix
CHECD 00102) and is described as a "lively collection of studio and concert
tracks that demonstrates the group's considerable talents." The following
personnel appear on the recording (there seem to be enough bass players and
drummers that a new one could appear on every track!!): Dick Crouch (vbs),
Ray Warleigh (as, pic, fl), Phil Todd (ss), Geoff Castle (kbds), Phil Lee (g),
Glen Cartledge (g), Allan Holdsworth (g), Ron Mathewson (b), Paul
Carmichael (b), Laurence Cottle (b), Henry Thomas (b), Billie Kristian (b),
Martin Drew (d), Neal Wilkinson (d), Steve Arguelles (d), Dave
Sheen (d, speech), Les Cirkel (d), Frank Roccotti (perc), Chris Fletcher
Bosco (perc) and Simon Morton (perc, voc). Evidently, the liners must
describe Paz as the first fusion band, because the reviewer makes a crack
about such a statement being a stretch. The reviewer concludes that the
recording is "a creditable slice of late seventies fusion, often times with a
Latin tinge."
Anyone have any further details on this group or recording?
-Lynn
< R. Lynn Rardin (rardin@auriga.rose.brandeis.edu) >
< Rosenstiel Basic Medical Sciences Research Center >
< Brandeis University, Waltham, MA 02254-9110 >
-------------------------------------------------------------------------------
Date: Sun, 10 Jan 1993 15:37:47 -0500
From: battlec@cs.rpi.edu
Subject: jimmy johnson
RE:
Also, Jimmy Johnson is um... well....he's BORING, okay? He
has a dull tone, he is unimaginative in his lines, and(speaking as
a bassist that has been playing nearly 25 years either
professionally or part time) his solos are gawd awful. Allan
could really benefit by changing bassists (as soon as possible.).
I know that Jimmy is a studio ace, but he just doesn't keep up
with Allan's level of playing.
--------------------
I'm sorry bu I HAVE to disagree with you on ALL points. JJ is IMHO
one of the most Tasteful bass players since Jaco. His tone is what
bass is all about: defined, stately, and deep. I find JJ's playing
(including his solos) to be extremely well developed and VERY
imaginitive. As a bass player myself (6 years & 13 on cello) I
buy Holldsworth's albums to hear jimmy as much as allan! Jimmy's
playing is all about taste. Percy jones is a great player but
definitely NOT compatible with Allan. My only gripe with JJ is that
he cant play fretless despite being a great fretted player. I think
that Mick Karn would be a refreshing change if there is to be a change
at all. Check out Lonely Universe with David Torn to hear him.
-------------------------------------------------------------------------------
Date: Tue, 12 Jan 93 9:47:06 EST
From: Kingsley Durant Jr
Subject: AH Video etc.
Dropped by my local music store today to find my copy of
Allan's REH Video had arrived. Was supposed to be here by
Christmas, but as is usual with anything pertaining to Allan,
there were delays. I've watched it through once. My initial
reaction is _FINALLY!_ I've always been less than happy with
the 'lessons' which have appeared in guitar magazines and even
RTFUC because they take bits and pieces of Allan's music and
explain it in a totally mechanical manner - sure, you could
learn to play that piece, and maybe even develop it some
yourself, but so what? There is one piece I've seen (but don't
own) in an old Guitar for the Practicing musician in which
Allan actually hints at his own harmonic theory. It's based on
permutations of notes, or intervals really, within a given
octave or two-octave interval. In this video, he basically
lays that out, at least in the form of his 'ten most useful
scales,' from which he builds both lines and chords. OF
course, there are also some transcriptions of bits from both
the live sections and Allan's 'teaching' sections, but with the
overall view everything actually makes sense - at least to me!
(Then again, I'm a mathematics teacher, and have been playing
guitar for more than 25 years) It also explains why Allan's
harmonic approach can't really be explained using traditional
harmonic theory.
The format of the video is: Allan's band (Skuli, Steve, & Chad)
play live in the studio for the major part of the video. The
tunes will be familiar to those who saw last fall's tour -
nothing from Secrets or WT. Allan introduces the tunes,
sometimes with an anecdote about the title ('The things you
see' story cracked me up), other times with a demonstration of
certain guitar parts. Wouldn't it be great if he did that at
shows?! Interspersed are brief sessions with Allan explaining
and illustrationg some theory, as described above. As
expected, Allan is nervous and apologetic on camera - sometimes
I wonder why he insists on putting himself down so much.
Perhaps it's because so many of us seem to deify the poor
chap! By way of comparison, I haven't seen a lot of these
videos - mainly Eric Johnson, Danny Gatton, and Yngwie
Malmsteen. All three of those guys are monsters, but the main
reason for watching is to see them sit and play off the top of
their heads. Particularly in EJ's case, this is fascinating!
But for learning anything theoretical, forget it. Allan makes
no claim to being a teacher, and he's right, but he has a
system, and it makes sense. He makes a point of noting that
real learning occurs best when one figures things out for one's
self. One minor complaint, by the way - I don't know if it's
just my old VCR, but the sound was terrible. On the other
hand, the video is well worth the price of, in effect, one and
a half guitar lessons!
My contribution to Where & How stories: I was a freshman in
college in the spring of '77 and a Gong and Steve Hillage fan.
A friend (the radio station manager) got EXPRESSO in the mail
and we put it on to see how Steve's successor sounded. After
the first few bars of Allan's solo I said, 'God this is
terrible! I could do better!' Another friend who was listening
said, 'no you couldn't,' and got out his copy of BUNDLES for me
to borrow. About the third time I listened to 'Hazard Profile'
it grabbed me, and I've been resolutely an AH fan ever since,
gobbling up pretty much everything I could find. One thing I
have which may interest Atavachron-ers is the December '82
Guitar Player interview; Allan gives a fascinating account of
IOU's early days. Copies may be obtained from University
Microfilms Int'l, 300 N Zeeb Rd, Ann Arbor MI 48106, (313)
761-4700. The best recent interviews, much more in depth than
the one in this month's GP, are in Guitar World, May '89 and GP
Mar. '90 - readily available as back issues. (The May '90 GP
also features a discussion with Eric Johnson about 'Ah Via
Musicom')
I was at the July '78 UK show at the Paradise - in the WBCN van
(I was friends with DJ's Carter Alan & Tracy Roach) and at the
back door since I couldn't get tickets. I didn't own a
cassette deck when the original broadcast happened, but I did
tape the (edited) re-broadcast some time later, which I still
have. At that show, there were several major f-ups, notably
Wetton forgetting the second verse to 'Caesar's Palace Blues'
and resorting to gibberish. But Allan was all over the place -
playing great. In contrast, that November at the Orpheum, he
was hardly even there. The one AH show I'll always remember,
though, is the '82 Paradise show, when I first heard IOU and
what Allan was really capable of. A large number of guitarists
walked out of that show absolutely silent, ready to sell their
guitars. I saw him more or less yearly through '87; the
Alexandria VA show last October was the first time since then.
Dave Lane mentioned the Jonathan Swift's show in '84 - I was
there too; Dave- the opening act was a band called Mr. Wizard,
fronted by a local hot guitarist named Hughie Ferguson who: a>
worshipped Allan and did a fair imitation (at the expense of
some degree of originality), right down to playing a white SG
Custom (did you see Allan at the bar looking uncomfortable?);
b> was in the first GP "Spotlight" alongside Yngwie Malmsteen;
and c> lived on my street and went to school with me when we
were kids.
On another note, I'm curious about you fellow Atavachroners.
Are you all guitarists? Musicians? Computer wizards? Do you do
anything besides sit around listening to Allan? (I try not
to!) BTW, I don't have much to add to the discussions RE:WT,
although I think the bari guitars are a cool new sound, and
Dodgy Boat is a good driving tune. It's definitely grown on
me, unlike Secrets, which has pretty well faded. TTFN,
<>
-------------------------------------------------------------------------------
*** End of Atavachron Digest ***
To have your posting distributed in the next issue of Atavachron,
send your posting to:
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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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Mon, 18 Jan 93 07:01:25 EST
Date: Mon, 18 Jan 93 07:00:03 EDT
From: atavachron@morekypr
Subject: Atavachron Digest #39
To: Jeff Preston
Atavachron Digest - The Allan Holdsworth Discussion List
Volume 2, Number 39
Monday January 18th, 1993
TODAY'S TOPICS:
==============
Atavachron Digest #39
Re: Atavachron number 38
ignorance
Info/Whine Session
Tokyo Dreams video
My Holdsworth history (whew!)
Holdsworth CD
-------------------------------------------------------------------------------
Date: Tue, 12 Jan 93 16:42:00 -0500
From: rmf@chopin.cs.columbia.edu (Robert M. Fuhrer)
Subject: Atavachron Digest #39
Two of my all-time favorite solos (on any instrument) are Allan's, and they are
not suprisingly two of his "simplest":
1) Solo near end of 1st section of "In the Dead of Night", on "UK"/UK
2) Solo at beginning of "Sahara of Snow, Part Two", on "One of a Kind"/Bruford
Speaking of the JJ thread, I also find him one of the "tastiest" bassists
around. It's this sort of playing in the two tracks I mention above, though
those have more soul and depth as well. They give me chills just thinking about
them.
Unfortunately, if my feelings are in touch with what he was putting out, he is
indeed a person with a great deal of sorrow inside. For another laden track,
try "Un-Merry-Go-Round". All I can say is, "Allan, my heart goes out to you,
wherever you are!"
Also, I find Gary Husband a phenomenal player. His style is quite different
from other drummers (try playing it some time; it feels somewhat like you've
been asked to switch hands!), which makes it all the more interesting. He seems
to have thrown out several assumptions many other players take for granted.
Oh, well, just my two cents...
--------------------------
Robert M. Fuhrer
Computer Science Department
Columbia University
503 CSC Building
(212) 939-7051
Internet: rmf@chopin.cs.columbia.edu
UUCP: ...!rutgers!cs.columbia.edu!rmf
Postal Mail: 450 Computer Science
500 West 120th Street
New York, NY 10027
-------------------------------------------------------------------------------
Date: Wed, 13 Jan 93 09:19:55 MST
From: stortek!Steve_Monroe@csn.org (Steve Monroe)
Subject: Re: Atavachron number 38
>Date: 07 Jan 1993 09:40:51 -0500 (EST)
>From: "UNIX of course, now what was the question?"
>Subject: Re: Atavachron Digest #37
>
>> Also, Jimmy Johnson is um... well....he's BORING, okay? He
>>has a dull tone, he is unimaginative in his lines, and(speaking as
>>a bassist that has been playing nearly 25 years either
>>professionally or part time) his solos are gawd awful.
>
>Don't quit your day job.
>
Hoooeeee, such a clever lad you are: Well, thank you for putting
me in my place. What ever was I thinking?
sjm
-------------------------------------------------------------------------------
Date: Thu, 14 Jan 93 09:50:49 EST
From: David=Lane%HQ%Rational@Vines1.ratsys.com
Subject: ignorance
The Entertainment column in Tuesday's Boston Globe had a short
blurb on this month's _Musician_ article naming the "100 Greatest
Guitarists...". The Globe piece ended with "Have _you_ ever heard
of Allan Holdsworth? Me neither."
- - -
Dave Lane davidl@ratsys.com
R a t i o n a l
Systems, Inc.
-------------------------------------------------------------------------------
Date: Fri, 15 Jan 1993 15:21:36 -0500
From: wcsanil@ccs.carleton.ca (Anil Prasad)
Subject: Info/Whine Session
Howdy,
The AH interview went very well, lots of juicy info, insights and
perspectives. It'll be a number of weeks before I can transcribe
it though, but I promise you it'll be worth it.
It ran over 2 hours and while intensely interesting it's done intense
damage to my bank account.. about $90 for a 2 hr. call to california
from ottawa, canada during prime time... ARRRRRRRRGH!
Donations are now being accepted!!!!!!!!!!! :-(
BTW, if anyone has *any* info on the "Best Works" compilation released
in Japan recently, please get back to me asap. I need track
listings, catalog numbers and label info if you have them.
If anyone out there lives in or near Dundee in England, please get
back to me as well.
-------------------------------------------------------------------------
Anil Prasad | "I was abused from the moment I was
----------------------------| conceived."
wcsanil@ccs.carleton.ca | -- Sinead O'Connor
-------------------------------------------------------------------------
-------------------------------------------------------------------------------
Date: Sun, 17 Jan 1993 04:31:19 -0500
From: wcsanil@ccs.carleton.ca (Anil Prasad)
Subject: Tokyo Dreams video
I'd like to speak to people that have the Tokyo Dreams video to
get their impressions of it etc...
Please drop me a line if you have it!
Thanks,
-------------------------------------------------------------------------
Anil Prasad | "I was abused from the moment I was
----------------------------| conceived."
wcsanil@ccs.carleton.ca | -- Sinead O'Connor
-------------------------------------------------------------------------
-------------------------------------------------------------------------------
Date: Sun, 17 Jan 93 01:29:08 EDT
From: PRESTON@morekypr.bitnet
Subject: My Holdsworth history (whew!)
Since Dave Lane and Kingsley Durant have both asked to know more
about the list's subscribers, I thought I'd stand up and do my bit
("Hi, I'm Jeff, and I'm a Holdsworthoholic"). :)
I first encountered Allan's playing about 1979, during my junior
year in high school. At the time, I was heavily into Rush, Kansas,
Journey, Boston, Pink Floyd... a host of bands you now hear on those
annoying "classic rock" stations. ;) Anyway, a good friend of mine
was also into these bands, but due to an older brother's influence,
was widening his musical perspectives. He, being a drummer, and I,
being a novice guitar player, used to hang out and jam quite a bit,
and we'd always be playing new "finds" for each other. Well, I'm pretty
sure the first album he slapped on the turntable that fateful day was
_U.K._, but it could have also been Bruford's _One of a Kind_ or Ponty's
_Enigmatic Ocean_ -- I heard all three before I left his basement that
day. Needless to say, I was hooked from the first legato line (that's
why I heard all three of those albums at one sitting: I'd insisted on
hearing everything he had that featured this incredible guitarist!).
It seems funny for me to remember the experience in this light, but I
think the first Van Halen album had just been out a short time, and I
remember how I felt the first time I heard their cover of "You Really
Got Me" on the radio; it was like, "*That's* a *guitar* doing that??"
Hearing Holdsworth for the first time was very similar... and I can
remember feeling like I'd had the guitar "rug" yanked out from under
me not once, but twice in a short period of time. It was most
discouraging for a fledgling player like my young self! Up until
then, I thought I was doing pretty good to be able to figure out parts
of Rush's _2112_ or something from Pink Floyd's _Animals_...
Living in Ashland, Kentucky, wasn't easy for a budding Holdsworth
fanatic in the late '70s (as an aside, there's another person on the
list who now lives in California who grew up in the same area -- what
coincidences you find on this net! -- anyway, he can attest to the
general lack of record stores, etc. in that part of the world back
then). I can remember playing the three aforementioned albums to death,
and eventually also finding Gong's _Expresso_ (later titled _Gazeuse!_)
in my drumming-buddy's brother's collection. Then, looking through a
copy of Guitar Player magazine one day, I ran across a classified ad
which was offering _I.O.U._ for sale (I wish I still had that issue!)
direct, via mail-order. Of course I went right out and got a money
order and sent off for it, and when it arrived, I had another treasure
to wear out (heh... I wore out several taped copies of it, I should
say... my original vinyl is still in pretty good condition). It was
about this time that I'd made some friends who lived in Huntington,
West Virginia (a larger town about 18 miles east of Ashland, across
the Ohio River), and soon I was introduced to a hip little record
store in Huntington called Sights & Sounds. After I bought _Road Games_
there, the owner would always put back a copy of anything featuring
Holdsworth for me... it turns out he was a pretty big fan, too (in
fact, I can remember him proudly displaying an original CTI vinyl
copy of _Velvet Darkness_ behind the counter at one point, and him
laughing at the suggestion that he should sell it to me, since I'd
never heard it). That was my source of Holdsworth material up until
March, 1989, when I moved here, to the excitement capitol of eastern
Kentucky: Morehead.
If Ashland was pitiful with regards to record stores, radio, etc.,
then you could only describe Morehead's situation as pathetic -- one
small mom & pop record store and a Wal-Mart, ooooh-boy. Fortunately,
Lexington is only an hour away, and well-equipped, so the occasional
trip to the Bluegrass region eventually turned up a copy of _Secrets_
(several months late, I'm sure... this had to be March-April 1990).
Well, not knowing when and where to find Allan's records (okay, CDs
by this time, sure) was starting to annoy me greatly, so I fired off
a letter to Michael Davenport, who was listed as Allan's manager in
the _Secrets_ liner notes. A month goes by... two... three... no reply.
Gee, I figured his management would want to *help* his fans connect up
with his albums and concerts. A year goes by, and I send another letter
-- this time with a SASE. A month later... two... three... *again*,
no response. Then, just as we're finalizing plans for me to attend a
training session in Columbus, Ohio, I get my SASE back, and enclosed
is a touring itinerary from Michael Davenport, a/k/a Merlin Co. And
to beat it all, Allan is playing in Columbus the night before my 8 a.m.
training session! Yes!! After 12+ years, I was *finally* getting to
see this guy do all these impossible things with a guitar before my
own two eyes... and it was all mere coincidence (or divine intervention,
one)! ;)
To digress a few months... a year, perhaps... Morehead State had
gotten a connection to Bitnet shortly after I'd arrived in 1989, and
by 1990-91, I was neck-deep in using the net to entangle myself in
all sorts of musical discussions via ALLMUSIC@AUVM . I'd also made
contact with several Holdsworth fans around the globe, and seemed to
be exchanging an awful lot of e-mail with people who were simply trying
(as I was) to get information about Allan's whereabouts on tour, new
projects, etc., and the idea of forming a list to share all this
information was beginning to shape up between me and Jim Trivellas
(whom I credit with being the midwife of Atavachron, as well as the
one who suggested the name). Well, that show in Columbus made me
come back to Morehead with renewed committment, and about five weeks
later, after much debating with the administrators here, Atavachron was
"on-the-air" as Morehead State University's first (and only, still)
mailing list.
So, here we are... I'll leave the rest of the story to the archives
(especially since it's not particularly interesting... well, a *few*
parts are, I suppose). ;) Btw, the friend who introduced me to
Holdsworth is still a great friend (although many miles away now),
and his older brother has slated one of my original tunes to go on his
upcoming CD, to be released later this year. Meanwhile, I *do* listen
to music other than Allan's (what? surprise?), and I manage to keep
myself afloat by being MSU's one and only computer operator (midnight
shift is a terrible thing to waste, y'know). Did that cover (more than)
all of the questions?
Jeff Preston
-------------------------------------------------------------------------------
Date: Mon, 18 Jan 93 10:47:14 GMT
From: "Pete Cole"
Subject: Holdsworth CD
In the UK, you can order a double-CD by Tony Williams Lifetime, which
has both of Believe It & Million Dollar Legs ... from :
Compact Disc Services : 0382 76595 (Dundee in Scotland) ...
I've used them before to order all sorts of music stuff, and they've always
been pretty prompt and helpful. Give them a call if you're after the CD !
Must say that I've yet to persuade my wife to let me buy it myself ... :)
Pete Cole
-------------------------------------------------------------------------------
Oracle*Mail: pcole.uk Internet: pcole@ukpyr2.uk.oracle.com
Phone (International) +44 932 87 2020 (UK) 0932 87 2020 extension 2172
Fax (International) +44 932 87 3273 (UK) 0932 87 3273
-------------------------------------------------------------------------------
-------------------------------------------------------------------------------
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Received: from UKCC.BITNET by ukcc.uky.edu (Mailer R2.08) with BSMTP id 2206;
Wed, 27 Jan 93 01:02:22 EST
Date: Wed, 27 Jan 93 01:00:05 EDT
From: atavachron@morekypr
Subject: Atavachron Digest #40
To: Jeff Preston
Atavachron Digest - The Allan Holdsworth Discussion List
Volume 2, Number 40
Wednesday January 27th, 1993
TODAY'S TOPICS:
==============
*unknown*
Upcoming Feb. 19 Holdsworth concert
The REH video
-------------------------------------------------------------------------------
Date: Wed, 20 Jan 93 22:50:30 PST
From: cs163wel@sdcc8.UCSD.EDU (Paolo Valladolid)
Subject:
I just wanted to say that I agree that much of Allan's soloing has a
weeping quality to it. I've been listening to a lot of John
Coltrane lately and have observed just how strongly he influenced
Allan. It's amazing just how much of Coltrane's phrasing; as well
as his ferocity and, in quieter moments, his lyrical qualities
manifest themselves in Holdsworth's playing. What's more amazing is
that Allan claims he never copied any Coltrane solos. I guess the
similarity in soloing style could come from Allan's being to relate
to Coltrane. Trane, too, had personal difficulties in his life (drug
addiction, etc.) and so he had a lot of pain to put out.
One common characteristic that great improvisers seem to share is
that they all express extreme emotions in their soloing; whether it's
joy or sorrow or anger. I've never heard any great solo where the
soloist was not communicating an extreme emotion; when the solo is
half-a**ed, then the insincerity stands out.
Ramblings aside, try listening to some Coltrane, mentally replace
the saxophone with electric guitar, and see if you don't hear Allan
Holdsworth!
--
Paolo Valladolid pvallado@sdcc13.ucsd.edu
-------------------------------------------------------------------------------
Date: Thu, 21 Jan 93 09:42:41 PST
From: ebupsn@anah.ericsson.com (Paul Stephenson)
Subject: Upcoming Feb. 19 Holdsworth concert
Hello All --
I've just made reservations for Allan Holdsworth's upcoming
concert at the Rhythm Cafa in Costa Mesa, CA on February 19.
If any fellow Atavachron subscribers are planning to attend and
would perhaps like to meet before the show and get acquainted
or just say "Hi!", drop me some email and we'll set something
up!
See you at the show!
Paul
Paul Stephenson | Internet: paul.stephenson@ebu.ericsson.se
Ericsson Business Communications | UUCP: uunet!ericsson.com!paul.stephenson
5757 Plaza Drive | Voice: (714) 236-6749
Cypress, CA 90630-0007 |
-------------------------------------------------------------------------------
Date: Sun, 24 Jan 93 16:32:40 EDT
From: PRESTON@morekypr.bitnet
Subject: The REH video
I've had the REH video for about a week now, and now that I've
watched through it a couple of times I thought I'd add a couple of
comments to Kingsley Durant's excellent review. I'll have to agree
with Kingsley on the verdict of bad audio, although perhaps the
Hi-Fi track is better (the VCR and TV I was using to watch the tape,
although relatively new, were not really designed for high-end audio
use). To be specific, I was particularly annoyed at the drum mix...
from the very first time I heard the snare drum, I had the feeling
that much of the audio track was taped with one or more room mics
(although mics were plainly visible on Wackerman's kit); either that
or the ambient mics were turned up way too high in the final mix.
On the other hand, finally getting to see the band on tape, and the
fact that they perform two tunes not available on record (but ones
which they perform or have been known to perform live) makes the
video worth the $50 asking price *to me*, however it probably goes
without saying that I sincerely hope a significant portion of that
cash is ending up in Allan's pocket.
As for the instructional portions of the tape (and the booklet
which accompanies it), I'm not sure I'm qualified to make a critique
on this; I have no formal training in music, nor have I ever been
exposed to music instruction. However, I'm inclined to take Allan at
his word (even taking into account how self-effacing he is) about
his making no claims as to his teaching ability. Much of what he says
seems (to me) to be a bit nebulous and often repetitive. But as I
said, my own knowledge of music and experience with music teachers is
such that I feel *I* would be unable to even ask the right questions
to clarify that which I didn't understand. The booklet looks very
impressive (and while I admit I haven't gone through any of the
exercises, I *do* intend to study these scale charts *very* closely),
and would probably yield as much, if not more actual instruction
than the video. If I could, I would like very much to hear a review
of the tape/booklet from someone who is accustomed to learning new
licks, etc. from tab books and magazines -- that would be a more
revealing review, I'm sure.
Specifics: The video runs 75 minutes, of which approximately 50
minutes is used to present the band (Wackerman, Spherrissen, Hunt)
doing a "live-in-the-studio" concert. The other 25 minutes is spent
with Allan demonstrating some scales and chord progressions, and
explaining his general philosophy about how and why these things work
the way they do. As an aside, the last segment of this was taped in
Allan's home studio (or so says the narrator)... I'd also like to get
opinions as to what the instrument in the background on the left side
of the screen during this segment might be (a Chapman Stick, perhaps?).
Allan and the band perform the following tunes on the tape:
Funnels
Proto-Cosmos
Looking Glass
The Things You See
Tell Me
Zone
House of Mirrors
"Zone" is the piece which Allan and Co. have been generally doing
as an encore for the last few years (at least for two out of the three
times I've seen him perform), although I had mistaken it for a revamped
version of "Shallow Sea," since the piece ends in the same chord
progression. It sounds like a highly improvised jam for the most part;
everyone just kind of stretches out on it. "House of Mirrors" is a
very moving solo guitar piece which I believe someone had mentioned
hearing at a past show.
All in all, I'm quite pleased with the tape, and the performances
are top-drawer; "Proto-Cosmos" alone will put some slack in your jaw
muscles, certainly. And if you've never heard "Tell Me" outside of
the recorded version, you'll appreciate getting to see the band wail
through that one (Skuli throws some nice twists into that one, and
Allan's solo... well, you just have to hear it). Check it out!
Jeff Preston
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=*=*=*=*=*=*=*=*=*=*=*= contributors. =*=*=*=*=*=*=*=*=*=*=*=
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Sat, 30 Jan 93 03:03:25 EST
Date: Sat, 30 Jan 93 03:00:04 EDT
From: atavachron@morekypr
Subject: Atavachron Digest #41
To: Jeff Preston
Atavachron Digest - The Allan Holdsworth Discussion List
Volume 2, Number 41
Saturday January 30th, 1993
TODAY'S TOPICS:
==============
A whole mess of Holdsworth
That famous ADA Stereo Tapped Delay for sale.
Coltrane and Holdsworth
Some thoughts about Wardencliffe Tower...
-------------------------------------------------------------------------------
Date: Wed, 27 Jan 93 12:39:44 EST
From: jarnot@kin.lap.upenn.edu (Kevin J. Jarnot)
Subject: A whole mess of Holdsworth
Just happened to stop into Tower Records on South St here in Philly
last night and was greeted with a pleasant surprise...it looks like someone
in purchasing has FINALLY decided to order something besides Rap...not
only did they have the entire Jean Michel Jarre collection (wrong
newsgroup, I know), but they had at least 20 Holdsworth CDs. I picked
up _Wardenclyffe Tower_, but also (at last!) _Metal Fatigue_ on CD! I
didn't have much time, as my girlfriend was growing restless, but I
also believe they had _I.O.U._, _Atavachron_, _Sand_, _Secrets_, and
_Velvert Darkness_. All on CD. They were all (except for Velvet
Darkness I think) on the Restless label. All for $13.99.
Kevin
P.S. I know many of the recipients of this list play guitar. Are
there any other keyboardists here?
----
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, 27 Jan 93 14:06:45 PST
From: freedman@mprgate.mpr.ca (Elliot Freedman)
Subject: That famous ADA Stereo Tapped Delay for sale.
I hope this is within the scope of the Atavachron digest...
Some months back I wrote to Atavachron and inquired about
the ADA STD-1 Stereo Tapped Delay. The unit is a 6 tap
chorus effect which Holdsworth has been using since at
least the I.O.U. album.
ADA no longer manufactures them but Matthew Crisp, one of
ADA's marketing people, took my name should any come his way.
I recently got a call from a fellow in New Jersey who has an
STD-1 and wishes to sell it. He is asking $400 for the unit
and can be reached at:
Jeff Kromando (sp?)
c/o CompuTech
(201) 584 0020
Regards,
Elliot Freedman
freedman@mprgate.mpr.ca
-------------------------------------------------------------------------------
Date: Thu, 28 Jan 93 11:50:48 EDT
From: PRESTON@morekypr.bitnet
Subject: Coltrane and Holdsworth
>Date: Wed, 20 Jan 93 22:50:30 PST
>From: cs163wel@sdcc8.UCSD.EDU (Paolo Valladolid)
>Subject:
> It's amazing just how much of Coltrane's phrasing; as well
>as his ferocity and, in quieter moments, his lyrical qualities
>manifest themselves in Holdsworth's playing. What's more amazing is
>that Allan claims he never copied any Coltrane solos. I guess the
>similarity in soloing style could come from Allan's being to relate
>to Coltrane. Trane, too, had personal difficulties in his life (drug
>addiction, etc.) and so he had a lot of pain to put out.
Whatever the reason, a lot of people seem to come to the conclusion
that Holdsworth and Coltrane share melodic traits. I couldn't begin to
count the times I've heard people make this comparison. But what is
especially puzzling to me is the fact that so few traditional jazz fans,
even the ones who recognize Coltrane's influences on Allan's playing,
find Holdsworth worthy of mention. This is just a general observation
I've made by watching the goings-on in the Usenet newsgroup r.m.bluenote,
so my sample may not be representative. If it *is* generally true though,
I find it sadly ironic that Allan has made more gains in the metal market
in the years *after* _Metal Fatigue_, where he said he would be working
more on the jazz-end of things if _Metal Fatigue_ were a commercial
failure.
Jeff Preston
-------------------------------------------------------------------------------
Date: Fri, 29 Jan 93 22:29:32 PST
From: freedman@mprgate.mpr.ca (Elliot Freedman)
Subject: Some thoughts about Wardencliffe Tower...
After two months listening, some thoughts on AH's latest!
-- 5 to 10
I really like to 1/1 pulse that this tune has and natural sounding unnatural
phrase lengths. The guitar solo is beautiful, eye-squintingly passionate as
is soars in & out of the deep chord. I like the minor anguished feel & how it
moves through those "serious" chords... and I like the sense of completion
as it resolve to D (or something :)).
I think the Jazz Fan ending is cute and I'm glad it was poorly acted, showing
at least a bit humour (instead of only bitterness).
-- Sphere Of Innocence
A few Frissel-isms in the playing (does anyone else find that?)... I'm really
glad that Gary & him finally get back together on an introspective piece.
The drumming is lovely, melodic (?!) and has a great deep sound especially in
the low toms.
When I saw Allan last February he did this piece in addition to another slow
introspective piece wherein Steve Hunt took the only solo. It started off with
Allan playing clean guitar (but then I guess most of those tunes do :)). Does
anyone recall what this unreleased tune was entitled?
I hope that Allan continues in this direction. I'd love to hear a really
rocking tune (like Letters Of Marque or Shallow Seas) written on the
baritone guitar. Sphere of Innocence & Zarabeth, in their chordal guitar
work, are quite restrained.
I did have to wonder about the synth-glissando about a minute into the
piece. I didn't think that it needed the extra bit of production.
-- Wardenclyffe Tower
It took a good couple of listens, but I really like the SynthAxe chordal intro
the close voicing in the bass with those high notes are as cool as "All Our
Yesterdays"! While I like the clean guitar "head", I'm baffled by the
distorted phrase.
The chord progressions behind the solos are a masterpiece! I love the way the
chordal phrases often fall in groups of three bars of 4/4. Some hang on for
a beautifully tensioned-filled unexpected length while other burst in equally
unexpected. Chad, in my opinion, is playing quite un-Chad-like; keeping the
pulse really moving without sounding fusiony (kind of like Gary in Sand or
Atavachron)!
I thought Gary got a bit lost in parts of his keyboard solo (I sure can
appreciate the immense challenges the chord changes are!). Allan's solo
comes of confidanly & strongly.
I really enjoy pieces like this one; where it takes weeks to be able to
follow and anticipate the chord changes by heart. I do wish that Wardencliffe
Tower had the dynamics, the breathing-ness (!), of The 4:15 Bradford Executive.
-- Dodgy Boat
Almost Level 42! :) (well, OK, maybe not!) I like the way Gary keeps
the tune moveing without resorting to heavy backbeats.
I wish that Jimmy had a flying solo on this album as he did on Panic Station.
Perhaps it's that I'm not too fond of so drastically altering the tunes
energy just because it's bass solo time. I like hearing a player like
Jimmy Johnson soar! I've seen him twice with Allan and live he was always
hotter in the mix. I wish the recordings featured him more substantially
as Metal Fatigue, Sand, & the Billy Childs disks do. Maybe he gets lost in the
synths (as I felt he did on Atavachron).
-- Zarabeth
Allans approach on the solo reminds of the approach he took on that lovely
second piece on 40 Reasons. I really like the (lookout) "thematic
development" (no pretension here, honest :)), that occurs throughout the
early clean sections. I am, however, not too fond of the throaty-synth
ending gestures.
-- Against The Clock
Someone mentioned some weeks ago that the drumming was too "in your face".
.....I'm no drummer, but here goes...
I am beginning to see what Vinnie is up to and, IMHO, it's very cool.
Very non-Gary Husband (as I don't find it particularily melodic or primal --
the two features I identify with Husband's drumming) and very non-Chad
(while Chad doesn't worry about delimiting the bars and seems to opt
to play of a 1/1 pulse-type-thing, Vinnie doesn't even seem to keep
a high-hat or ride to offer the pulse. He seems to have the structure
of the tune completely in his head and play a sort of continual
improvised ornamentation). I think that the drum machine element keeping
the superimposed at the end hinting at the super-imposed rhythms was cool.
I think listening & appreciating drumming like this requires you not to
expect the role of timekeeper or pulse-maker from the drummer. I remember
having to alter my listening when I first heard Gary. I was easier with
Gary, though, because he played of Allan's clean guitar phrases so much.
Vinnie doesn't seem to be interested in the melodicisms that Gary uses
and also has an unreal metric concept (I'm trying to say that the
superimposition of rhythm things that he does are extremely cool).
Oh, the rest of the tune... Yeah, that voice. (The more I listen to
these tunes with the female vocalist & SynthAxe, the more I see Allan
and his group, The NeXT Generation, in the canteen of the Deep Space Nine
space station. Does anyone remember when Uhura sang to Riley before he
drank the poisoned milk in Engineering... the melodies were equally
shivering!)
That (potentially FM synth, sustaining) sound carrying the chords, it's
great! I wish it were louder in the mix.
The solo with the breath controller... (well, means be damned!) The solo
just flies!
-- Oneiric Moor
Does anyone know what Oneiric means!? This tune is way too short. You start
to track the melodies that the voices of the chords follow and suddenly it's
over. Aaargh.
-- Questions
I'm not too thrilled about Chad's piece. In my opinion, he had better
compositions on 40 Reasons. The tunes starts with that pedal tone concept
that Chad explored in his tune on Secrets. The descending chromatic chords
are repeated without enough real development, and, for me, that chimey just
melody doesn't work.
The production was quite Secrets-like. Very produced... unlike some of the
other tunes on the album.
--
I did expect more of a shift in direction from Allan with this release.
It seemed very much to be 1/2 Secrets era material & 1/2 new explorations.
In general, I know it's a very diplomatic thing to do and I admire Allan
for it, but I would much rather have hear two more pieces of his than
Dodgy Boat & Questions. When I spoke with him in Seattle & Vancouver
last February, he thought that he might hold up the release a bit longer
in order to record a piece with Skuli. That would've been cool. Has anyone
hear his harmonized bass playing on one of the First Circle (Last Circle,
First Exit :)) albums?
------------------------
I've just ordered my REH video, I can't wait to see Looking Glass performed
again with clean guitar!
Regards,
Elliot E. Freedman
Vancouver, Canada
(604) 731 7725
(604) 293 6034
freedman@mprgate.mpr.ca
-------------------------------------------------------------------------------
*** End of Atavachron Digest ***
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All comments made here are the views of the individual
=*=*=*=*=*=*=*=*=*=*=*= contributors. =*=*=*=*=*=*=*=*=*=*=*=