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Atavachron Digest - The Allan Holdsworth Discussion List
Volume 2, Number 61
Tuesday September 21st, 1993
TODAY'S TOPICS:
==============
Testing testing 1..2..3...
Come Together
Additional info
RE: COME TOGETHER
Lyrics to "All our Yesterdays"
The latest news
------------------------------------------------------------------------------
Date: Tue,24 Aug 93 11:50:24 BST
From: David_Valentine-Hagart@vme.ccc.nottingham.ac.uk
Subject: Testing testing 1..2..3...
To: atavachron-digest@msuacad.morehead-st.edu
Message-Id: <24_Aug_93_11:50:24_A14E2E@UK.AC.NOTT.VME>
This is just a test.. to make sure I can reach the new address.
I love the new atavachron .sig Jeff !
Anyone out there know where I can get a green Ibanez AH10 !!
That's enough bandwidth...
Dave V-H
------------------------------------------------------------------------------
Date: Tue, 24 Aug 93 15:58:10 -0400
From: rardin%bad.dnet@auriga
Subject: Come Together
So we're back up and running? Thanks for your efforts, Jeff. It sounds like
Atavachron is now a much more full-featured list.
So has anyone actually heard what the release date is for COME TOGETHER, the
Beatles tribute album on NYC?? I know Allan's only on one cut, but it sounds
like some of the other cuts could be very interesting, too (there's more out
there than just AH, ya' know! :) :).
-Lynn (rardin@auriga.rose.brandeis.edu)
------------------------------------------------------------------------------
From: Jeff Preston
Subject: Additional info
Date: Wed, 25 Aug 93 11:08:41 EDT
Since I've noticed several people sending requests to the listserv,
I should have mentioned that the "recipients" (or "review") request
and the "statistics" request have been *disabled* for both atavachron
and atavachron-digest so that non-contributing users can maintain
their anonymity if they so choose.
Regarding _Come Together:..._, I wanted to pass along this tidbit
which Atavachron subscriber (and long-time fellow Allmusic-crony)
Charles M. Vance sent to me during the list's hiatus:
:Jeff,
: The following was lifted from the September _Downbeat_. Do with it what
:you wish. :*)
: From the review of _Come Together: Guitar Tribute to the Beatles_:
: "But the biggest surprise of all is hearing Allan Holdsworth blow with
:abandon on a swinging, reharmonized rendition of "Michelle". His
:connection to Coltrane has never been so apparent. If this marks a new
:direction for the guitar god, I say go ahead, Allan." -- Bill Milkowski
: The rest of the review is pretty favorable, too. This sounds like
:something to put on the get list. :*)
I've been watching Noteworthy's ROEG database and Compact Disc
Connections's online database for any sign of this, and no luck so
far... has anyone seen it in the racks yet? I would imagine if
anyone would have this, it'd have to be Lynn Rardin... if he doesn't
have it, I'll lay odds that it hasn't been released yet! ;)
Also:
If you have any tablature or good GIFs/TIFFs/JPEGs/etc. of Allan
and the band that you'd like to contribute to the archive site,
please let me know! I'd really like to see the FTP site used to
its full potential; suggestions *very* welcome!
Jeff
--
Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum
=*=*=*=*=*=*=*=*= atavachron-request@msuacad.morehead-st.edu =*=*=*=
------------------------------------------------------------------------------
Date: Wed, 25 Aug 93 11:33:41 -0400
From: rardin%bad.dnet@auriga
Subject: RE: COME TOGETHER
Jeff>Regarding _Come Together_...
Jeff>I've been watching Noteworthy's ROEG database and Compact Disc
Jeff>Connections's online database for any sign of this, and no luck so
Jeff>far... has anyone seen it in the racks yet? I would imagine if
Jeff>anyone would have this, it'd have to be Lynn Rardin... if he doesn't
Jeff>have it, I'll lay odds that it hasn't been released yet! ;)
You can be sure I'm looking for it on at least a weekly basis at Tower and
elsewhere in the Boston area. :) Still no sign of it. Guess we could call
NYC Records and ask Mike what the deal is!
-Lynn
< R. Lynn Rardin (rardin@auriga.rose.brandeis.edu) >
< Rosenstiel Basic Medical Sciences Research Center >
< Brandeis University, Waltham, MA 02254-9110 >
------------------------------------------------------------------------------
Date: Thu, 26 Aug 93 17:19:10 PDT
From: Richard.Farrar@adaclabs.com (Richard Farrar)
Subject: Lyrics to "All our Yesterdays"
This is all I can figure out so far:
Through the trees the sunlight streaming
The leaves of light are falling down on me
But softly and I close my eyes
I know there is a treasure
Here in this place
It was left here long ago, but only last night
Now in the morning our yesterdays
the haze
Has softened every future fear
For all our yesterdays are near
Golden leaves the light will gently find unkind
our yesterdays
---
Richard Farrar ADAC Laboratories farrar@adaclabs.com
These views are my own, not my company's or country's.
"other boys use the splendour of their trembling lip
theyre so teddy bear tender and tragically hip"
-"The Town Crier" - Elvis Costello
------------------------------------------------------------------------------
From: Jeff Preston
Subject: The latest news
Date: Tue, 31 Aug 93 14:43:27 EDT
Claire Holdsworth sent a fax to me over the weekend to let me know
that she and Allan had recently purchased a MacIntosh, and they were
interested in figuring out net.navigation. So, I attempted to return
the fax to send Claire some tips, using our university bookstore's
public fax service... well, the poor workstudy assigned to watch the
desk really didn't know how to operate the fax machine, and since I
was afraid someone in the Holdsworth household might actually still
be asleep at 9 a.m., I asked them not to try calling the number a
third time. I decided I'd wait a bit, go home and call and leave a
message on the answering machine instead.
So, I called, and Allan picked up. He said that most of the important
part of the fax was legible, and that Claire had "run off upstairs with
it," and that she was really enjoying learning about the Mac. Since I
had him on the phone, I thought I'd see what the latest news was, and:
* Allan says the new album is nearly done, but the working title,
_Hard Hat Area_ may be scrapped. "There's no tune on the album with
that title," he said, "although I don't know if that should really
matter."
* The Bruford project looks dead-in-the-water. Apparently some label
made an offer on the financing ("The amount they were talking about
have been *fantastic* for one of *my* albums..."), but after all
parties sat and discussed it, it was agreed that it wasn't enough to
cover all the travel expenses that would be incurred, due to Bill and
Allan living so far apart. "I really wanted to do it, too... I thought
it would be something different," Allan said, not ruling out the
possibility of doing something with Bruford in the future.
* The Andrea Marcelli album is still on. Allan says he wants to finish
up his album, and then he'll be going to work on that immediately after.
Well, that's all for now... film at eleven. :)
Jeff
--
Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum
=*=*=*=*=*=*=*=*= atavachron-request@msuacad.morehead-st.edu =*=*=*=
------------------------------------------------------------------------------
I ========= End of Atavachron Digest =========
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: ::::::: ]] [[ ::::::: : Administrative requests to:
::: ]] [[ ::: listserv@msuacad.morehead-st.edu
''::]]]]]] ]] [[ [[[[[[::''
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/ :: ] ::: [ :: \ All opinions expressed herein are
I I those of the individual contributors.
Atavachron Digest - The Allan Holdsworth Discussion Digest
Volume 2, Number 62
Sunday, 26 September 1993
TODAY'S TOPICS:
==============
Holdsworth touring schedule?
Re: Holdsworth touring schedule?
please add
The new album / Digest problem solved
Some AH music
-------------------------------------------------------------------------------
Date: Tue, 21 Sep 1993 03:25:07 -0400 (EDT)
From: Daniel J Keldsen
Subject: Holdsworth touring schedule?
Any news on when/if Allan will be touring sometime soon? I've gotten used
to seeing him perform here in Boston around the Sept.24 timeframe. Seen
him two years in a row on nearly the same date - I hope a 3rd year isn't
too hopeless...
Dan Keldsen | Are you now, or have you ever been:
djk@world.std.com | a. A Berklee College student?
| b. A member/fan of Billy Death?
Looking for a used | c. a MAX programmer?
SGI Indigo. Got one? | d. a Think-C & MIDI programmer?
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Re: Holdsworth touring schedule?
Date: Tue, 21 Sep 93 3:56:11 EDT
> Date: Tue, 21 Sep 93 03:37:55 -0400
> From: Daniel J Keldsen
> Any news on when/if Allan will be touring sometime soon? I've gotten used
> to seeing him perform here in Boston around the Sept.24 timeframe. Seen
> him two years in a row on nearly the same date - I hope a 3rd year isn't
> too hopeless...
Allan will not be touring this fall -- he has several recording
projects scheduled between now and Christmas (his upcoming album,
Andrea Marcelli, Chad Wackerman), and was having trouble back in
the summer getting enough bookings for the fall to make a tour
feasible. I mentioned something about this back in June and got
a couple of inquiries from people who wanted to help find a club
that might want to book Allan, but it just wasn't meant to be.
There is a chance he will tour after the first of the year, but I
don't know what part(s) of the U.S. would be included. Now that
Claire and Allan have a network connection, we should have the
tour itinerary (and corrections thereto -- at last!) at the soonest
possible moment.
Jeff
--
Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum
=*=*=*=*=*=*=*=*= atavachron-request@msuacad.morehead-st.edu =*=*=*=
-------------------------------------------------------------------------------
From: phv@equalizer.cray.com (Paolo Valladolid)
Message-Id: <9309211759.AA08235@equalizer.cray.com>
Subject: Posting for Atavachron
To: preston@msuacad.morehead-st.edu
Date: Tue, 21 Sep 93 10:59:17 PDT
X-Mailer: ELM [version 2.3 PL11]
Status: RO
Jeff,
The post I emailed to Atavachron bounced. For some reason, our mailer
doesn't like the posting address for the list. Anyway, here 'tis:
Forwarded message:
> From MAILER-DAEMON@msuacad.morehead-st.edu Tue Sep 21 10:03:36 1993
> Message-Id: <9309211703.AA12554@cray.com>
> Date: Tue, 21 Sep 93 10:03:23 PDT
> From: Mail Delivery Subsystem
> Subject: Returned mail: unknown mailer error 1
> To:
>
> ----- Transcript of session follows -----
> sh: /usr/server/lists/ATAVACHRON/moderated: cannot create
> 554 "|/bin/cat >> /usr/server/lists/ATAVACHRON/moderated"... unknown mailer
error 1
>
> ----- Unsent message follows -----
> Received: from timbuk.cray.com by msuacad.morehead-st.edu with SMTP
> (1.37.109.4/16.2) id AA17009; Tue, 21 Sep 93 12:58:34 -0400
> Return-Path:
> Received: from equalizer.cray.com by cray.com (4.1/CRI-MX 2.19)
> id AA12548; Tue, 21 Sep 93 12:03:25 CDT
> Received: by equalizer.cray.com (4.1/CRS-EQUALIZER/1.5)
> id AA04806; Tue, 21 Sep 93 10:03:24 PDT for
atavachron@msuacad.morehead-st.edu at timbuk
> From: phv@equalizer.cray.com (Paolo Valladolid)
> Message-Id: <9309211703.AA04806@equalizer.cray.com>
> Subject: lyrics
> To: atavachron@msuacad.morehead-st.edu
> Date: Tue, 21 Sep 93 10:03:23 PDT
> X-Mailer: ELM [version 2.3 PL11]
>
> Hi,
>
> I posted this question before but didn't get a reply so I'll try again:
>
> Who's been writing the lyric's to Allan's music, from IOU onwards? Allan
> himself?
>
> --
> Paolo Valladolid
> phv@equalizer.cray.com
> OS Integration Group - Student Programmer
> Cray Research Superservers, Inc.
-------------------------------------------------------------------------------
From: wcsanil@ccs.carleton.ca (Anil Prasad)
Subject: please add
Date: Wed, 22 Sep 93 0:45:04 EDT
(Please add this to the list (too lazy to do an alias for atava right
now), btw what did he say about the i/e piece?)
In addition to Jeff's comments about AH's recent doings, I thought I'd
add the following tidbits from a message that somehow got trashed in
cyberspace somewhere a few weeks ago:
The label that offered Bruford/Holdsworth a crummy deal is a major
label, and was currently discussing the possibility of signing
AH as a solo artist. This was the North American arm of the major
label. I'm not sure what's going on with that.
AH is ecstatically happy about the forthcoming album. Ecstatically
happy for AH that is. When I spoke to him, he was REALLY enthusiastic
about the new material **AND** his playing, absolutely shocking
(and nice) to hear from such a self-deprecating perfectionist. When
I spoke to him, he only had one tune left to finish, has this changed
Jeff?
Other random nonsense:
The scumsucking, money-grubbing vermin at the same Japanese label
that issued AH's Best Works, had somehow got hold of distribution
rights for the albums the tracks were culled from. They went ahead and
put the compilation together withough AH's involvement or
authorization of course. They had DISTRIBUTION rights, not the rights
to create an entirely new album. Still a bootleg IMHO. A Jaco
Pastorious Best Works CD, as well as a Bruford Best Works CD are
rumoured to be floating around out there as well.
Bruford is apparently still at war with E'G records. I've been led
to believe that a major reason he is NOT in the new King Crimson
is because Fripp is legally not permitted to work with Bruford
until Broof is totally free from E'G (Fripp continues to be at
war with them). The Bruford live album (Stamping Ground) has appeared
on several UK distributor lists as of late, so perhaps it will
pop up in time for christmas.
Anil Prasad/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\wcsanil@ccs.carleton.ca
/\/\/\/\/\/\"Without music, life would be a mistake." -- Nietzsche/\/\/\/\/\/\
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: The new album / Digest problem solved
Date: Wed, 22 Sep 93 3:42:54 EDT
>From: wcsanil@ccs.carleton.ca (Anil Prasad)
>Date: Wed, 22 Sep 93 0:45:04 EDT
>AH is ecstatically happy about the forthcoming album. Ecstatically
>happy for AH that is. When I spoke to him, he was REALLY enthusiastic
>about the new material **AND** his playing, absolutely shocking
>(and nice) to hear from such a self-deprecating perfectionist. When
>I spoke to him, he only had one tune left to finish, has this changed
>Jeff?
Claire's e-mail of 8/31/93 said that Allan was in the process of
recording the solos for the album, and a few days later she mentioned
that Restless would like to have the album by January. I don't see
that happening (nor did Claire, if I read the tone of her note
correctly... I imagine Allan's penchant for mix-mania must be well
known to readers of this list by now, nudge-nudge). But I have to
agree with your assessment of Allan's general mood on the new album;
he was really upbeat and sounded very positive about it when I talked
with him a few weeks ago.
I managed to hook up with a copy of that Beatles tribute CD, through
Bose Music Express... although it will be another week or so before it
arrives. After being used to buying CDs through Noteworthy, etc., the
total of $21.66 (includes s/h) was a bit of a shock (to say the least!).
Administrivia: I believe our recent crop of problems with the digest
have been solved (he said, fingers crossed). Thanks to everyone who
wrote in to explain the difficulties.
Jeff
--
Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum
=*=*=*=*=*=*=*=*= atavachron-request@msuacad.morehead-st.edu =*=*=*=
-------------------------------------------------------------------------------
From: Kingsley Durant Jr
Subject: Some AH music
Date: Sun, 26 Sep 93 9:59:43 EDT
LOOKING GLASS
by Allan Holdsworth
(c) 1986 Fred Bloggs Pub.
Transcription by Kingsley Durant 9/93
for sole use of Atavachron subscribers
part A (1a)............ (2) (1b).............
||:12 10 14 12 11 9 9 9 9 9 9 - 14 12 9 9 9 9 9 9 -
||: 8 7 10 9 7 6 7 8 7 6 7 - 12 9 9 9 10 11 10 9 8 -
||: x x x x x x x x x x x - x 8 x x x x x x -
||: x x x 11 9 8 9 10 9 8 8 - 14 x 10 11 12 11 10 9 -
||:12 10 14 9 7 6 7 8 7 6 6 - 11 9 8 9 10 9 8 7 -
||:10 8 12 x x x x x x x x - x x x x x x x x -
|...1st ending...| |...2nd ending...|
- x x 12 17 15 14 12 10 :||19 17 16 14 12 -
- 14 12 10 -15 12 -10 10 8 :|| -15 15 -12 12 10 -
- 11 9 x x x x x x :|| x x x x x -
- x x 11 17 14 12 11 9 :|| 17 16 12 11 9 -
- 13 11 9 14 12 10 9 7 :|| 15 14 12 11 9 -
- 11 9 x x x x x x :|| x x x x x -
part B * (3) * part A'(4)
- 9 7 4 7 -3 15 14 12 - 7 10 -3 7 5 - 9 7 6 4 4 4 4 4 4 -
- 10 1010 55 5 7 1313 10 9 - 88 8 7 3 2 - 5 4 2 1 2 3 2 1 2 -
- x x x 8 7 x x 11 - x 11 7 x x - x x x x x x x x x -
- 12 11 7 6 5 14 x x - 10 9 5 x x - x 6 4 3 4 5 4 3 3 -
- 10 9 5 x 3 12 14 x - 8 x 3 7 5 - 9 4 2 1 2 3 2 1 1 -
- x x x x x x 12 12 - x x x 5 3 - 7 x x x x x x x x -
(5) |.(2nd ending).|(6)
- 9 7 4 4 4 4 4 4 - 4 x 7 14 12 11 9 7 |
- 7 44 4 5 6 5 4 3 - 2 7 5 -10 10 -7 7 5 |
- x x x x x x x x - x 4 x x x x x x |
- 9 6 5 6 7 6 5 4 - 3 x 6 12 11 9 8 6 |...into solo
- 6 4 3 4 5 4 3 2 - 1 6 4 10 9 7 6 4 |
- x x x x x x x x - x 4 x x x x x x |
Solo ends with part B then part A' as written, except A' uses
1st ending form this time, transposed down a fourth (5 frets).
Then play part A again from the top, ending with the original
2nd ending. How mathematically logical!
General performance notes:
The entire piece is fingerpicked; it's not really hard, but
watch for those skipped strings, a Holdsworthian trademark!
L.H. fingering is more difficult. Allan seems to eschew
partial barres and fretting more than one string with a finger
whenever possible. This makes passages such as the high-note
pedals at (1a) and (1b) involve more movement with the L.H.,
but it probably sounds a little cleaner. Once you get the hang
of it (the 'grip' of it?!), the patterns are fairly clear.
The rhythm is impossible to translate into bars without making
this way more confusing than it already is, so I haven't even
tried. The sets of dashes simply indicate break points between
phrases. It takes some time to get the rhythm down - I'd love
to have seen Allan trying to teach this to the band... the one
really tricky bit is at (2) where the finger-buster chord comes
faster than you think.
Specific performance notes:
(1a), (1b): As above, try using partial barres if your fingers
get all twisted up. The first chord at (1a) is easier to hit
while passing thru positions if you switch 2nd and 3rd fingers,
though.
(2) a finger switch is a necessity here. Move 1st finger to the
G-string.
(3) barre the 3rd fret with the 1st finger, no problem.
(4) n.b. part A' is the same as part A, transposed down a
fourth (5 frets)
(5) This chord is the fingerbuster from note (2). In this
position, it's well-nigh impossible for us humans. I've given
an alternative which sounds a tad more harmonious. Try it the
hard way if you like... (it can be done if you put the guitar
neck at an absurd enough angle!)
(6) 2nd ending refers to the ending used in part A; this is the
same except down a fourth...
Musical notes:
Most of the chords in this piece are simple major/minor/7th/add
9/add 11 types of chords, but using beautiful, spread-out
voicings. The perfect fifth interval is omnipresent; many of
the chords are simply pairs of fifths. The high-note pedals
with chromatically shifting patterns underneath (e.g. 1a & 1b)
are a neat trick - John Scofield uses this sort of thing all
the time. Part B is one of my all-time favorite bits as a
melodic/harmonic progression. The 4th chord into this section
(reappears later - both marked with *) is one that Holdsworth,
Eric Johnson, and many others use in a variety of ways, and
it's a great one to explore with the tension of the minor 2nd
interval on the G&B strings. In this particular case, I'm not
sure whether Allan plays the lowest note on the D-string as
written, or a major 3rd below on the A-string, which is
actually the chord's root. Without a band, you tend to want to
hear the root down there, although the chord sounds a little
off without the 3rd. Eric Johnson sometimes plays this chord
with his thumb fretting the root on the A-string and the 5th on
the E-string. It sounds great, but in the context of this
piece it significantly increases the DOD...
I have the changes to the solo somewhere, but I can't seem to
find them and I don't feel like figuring the whole thing out
again. Perhaps another time...
Solo changes to WARDENCLYFFE TOWER
(c) 1992 Allan Holdsworth/Fred Bloggs Music
1 5 12
|| Cmaj7#11 (C lydian)|~|~|~| Fdim+7 |~|~|~|~|~|~| B- dim |~|~|
|| G major (A min) : : : : :| A min+7-6 : : : : :| A- dim : : |
15 18 22
||: Amaj7#11 | G#m9 | ~ | Emaj7#11 | F#7 | Cm9 | ~ | ~ |
E-maj7#11 | Dm7 | ~ |
||: E maj (F# min) : : :| B maj : : : : :| B- maj : : : : : : :
: :| F (Gm) |
25 30
| B-maj7#11 | C7 | F#m9 | ~ | ~ | Dmaj7#11 | A | ~ | Gmaj7#11 |
F# | ~ |
| (Gm) : : : : : | E (F#m) : : :| A (Bm) : : : : : | D (Em) |
F# : : |
36 *to coda (ret to bar 1 in 1st solo) 42
| Bmaj7#11 | ~ | A#m7-9 | D#m7 | Amaj7#11 | G#m7-9 | C#m7 | E7
| Bm9 | F#m7|
| (F# or G#m) : : : : : : : : :| E or F#m : : : : : : : : | A
or Bm : : : :|
46 (ret to bar 15)
| A Dmaj7#11 | E7 | E7/B | Cmaj7#11 Cmaj7#11/G :||
| A (Bm) : : : : : : : : :| G (Am) : : : : : : :||
CODA:
|| Cmaj7#11 (C lydian)|~|~|~| Fdim+7 |~|~|~|~|~|~| B- dim |~|
F#maj7#11 | ~ |
|| G major (A min) : : : : :| A min+7-6 : : : : :| A- dim : |
C# (D#m) : : :|
NOTES:
The top line represents the chords played, using the bass lines
as a guide. AH is rather unpredictable in his use of voicings,
so I've made no effort to capture the actual voicings. Listen
and experiment! Note the prevalence of the Lydian chord
(maj7#11) throughout the piece.
The bottom line indicates the underlying scale used in the
improvisations (and the chordal backing as well). This line
follows Holdsworth's harmonic theory, which doesn't recognize
modes as being different from the parent scale. Thus sections
such as bars 36-42, where the actual chords seem to be changing
rapidly, have a common harmonic basis. This, to me, is the KEY
to understanding Holdsworth's harmonic approach - infinitely
more so than learning a bunch of his 'tricks' such as wide
intervals, closely-voiced chords, hammered fourths, etc.
Understanding the harmonic basis allows a player to make
his/her OWN decisions about what notes go where and the result
is a true improvisation, spontaneous and individual. (I'll stop
preaching now... :-)
As for nomenclature, AH himself calls a given major scale by
its Dorian mode form, i.e. E major is "F# minor." (strange
personality quirk? perhaps related to the weather in northern
England?) I've indicated both. Note that only two
non-"diatonic major" scales occur - the minor +7-6
(1,2,-3,4,5,-6,+7) and the diminished scale - in bars 5-14 and
again in the coda.
-------------------------------------------------------------------------------
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