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Atavachron Digest - The Allan Holdsworth Discussion Digest
Volume 2, Number 72
Tuesday, 11 January 1994
TODAY'S TOPICS:
==============
SynthAxe
Re: Bela's Drummer
"Wardenclyffe Tower" makes JAZZIZ list
Re: "Wardenclyffe Tower" makes JAZZIZ list
Early guitar synthesis
Talk of a tour, and a book
HARDHAT AREA
The View
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Date: Fri, 10 Dec 93 12:57:51 PST
From: freedman@mprgate.mpr.ca (Elliot Freedman)
Subject: SynthAxe
I've got infront of me some literature from the now-demised company,
SynthAxe, Limited, which features an exerpt from a British music magazine
in which AH talks with Bill Aitken, the instruments inventor.
(Guitarist Magazine, May 1985).
I also have a 1986 copy of the English Studio Sound magazine in which
the technical innards of the SynthAxe are described: It seems have
two MC6809 microprocessors onboard (one for neck-related functions and the
other for handling the keys & strumming strings and for general coordination)
and is filled with magnets, springs, and Hall effect sensors (which probably
contributed to it's high cost) which work together as transducers of the
various motions (key depression, string bending, string plucking, whammy bar,
etc.).
While in Europe some years ago, I spoke with Mal Chapman of the group trying
to market both the SynthAxe and the Stepp instrument (Reflections Marketing).
He informed me that the instrument that they lent AH for his '89 European
tour would be available for around 3300 English Pounds. I believe that
the '85 price was around US$10000. Their 1989 address and phone number is:
Mal Chapman (& Mike Dixon),
Reflections Marketing,
6 Bizenorton Road,
Minister Lovell,
OXON OX8 5SE
England
+44 (0)993 775677
Bill Aitken, after SynthAxe worked for an English company called Quantum.
Write to me should you want a copy of these articles.
=======================================================================
Elliot E. Freedman (freedman@mpr.ca)
Who welcomes interest from Internet users in his group's tape of
adventurous, electric jazz music. Write for details!
"Very, very good avant fusion..."
Guitar Player Magazine, October 1991
Reader's Soundpage Competition
=======================================================================
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Date: Mon, 13 Dec 93 11:17:32 -0500
From: barrett@astro.cs.umass.edu (Daniel Barrett)
Subject: Re: Bela's Drummer
"Dave Midgarden" writes:
>I may be mistaken, but I think Futureman play his own jury-rigged
>contraption that he calls a Drumatar.
It is indeed a Synthaxe, but it's been modified. "Drumatar"
is Futureman's own name for the instrument.
>From: jphillip@su19bb.ess.harris.com (John Phillips)
>It is, indeed, a Synthaxe on which he has glued drum units. I also
>see him playing the buttons on the axe itself, which I believe he has
>mapped to percussive functions. I have never seen him mess with the
>strings.
Incidentally, the strings on the Synthaxe neck have no real
function. Pressure on the fretboard is what controls the sound; the
strings are there only to make guitarists feel comfortable. (However,
there is a second set of strings for strumming, and they do have the
expected note-triggering effect.
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, 16 Dec 1993 10:53:47 -0500 (CDT)
From: ALAFOSSE@macalstr.edu
Subject: "Wardenclyffe Tower" makes JAZZIZ list
_Jazziz_ magazine just published their 10th Anniversary issue. Included in the
issue was a critics' list of the top albums of the last decade, and
"Wardenclyffe Tower" was included on it. This was a pretty selective list (I
haven't counted, but there can't be more than about 100 albums included
overall), so it's quite an accomplishment for anyone, much less someone who
tends to recieve as little press attention as Allan does. It's gratifying to
see his name alongside the likes of Wynton Marsalis, Pat Metheny, and John
Scofield. (Of course, this was a rather left-of-center list in some respects,
seeing as how other inclusions were Arvo Part's _Miserere_ and Public Enemy's
_It Takes A Nation Of Millions To Hold Us Back_).
--Andre LaFosse
alafosse@macalstr.edu
-------------------------------------------------------------------------------
Date: Thu, 16 Dec 93 12:44:08 EST
From: "Bob Lynch"
Subject: Re: "Wardenclyffe Tower" makes JAZZIZ list
Some recognition is better than none. BTW, check out Chad Wackerman's new CD.
AH gets a few tasty solos, and the tunes are excellent. Unfortunately, there
is just no comparison between Allan's live playing and *anything* recorded.
I've seen him live a flabillion times and have many bootlegs, (including
some video),
and as much as I respect him, he just never seems to let go in the studio.
Anyone who has ever seen "Devil Take the Hindmost" done live knows what I'm
talking about.
--Bob lynch@jvnc.net
>see his name alongside the likes of Wynton Marsalis, Pat Metheny, and John
>Scofield. (Of course, this was a rather left-of-center list in some respects,
>seeing as how other inclusions were Arvo Part's _Miserere_ and Public Enemy's
>_It Takes A Nation Of Millions To Hold Us Back_).
>
>--Andre LaFosse
>alafosse@macalstr.edu
>
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Early guitar synthesis
Date: Mon, 20 Dec 93 4:48:40 EST
This is a bit off topic, but there's a chance y'all will forgive me
for being tangential. :) There may actually be someone here reading
who can help me; this person wrote to ask if I knew the model of
guitar synthesizer that Allan used on the Gong tune "Arabesque"
(which I did not, unfortunately, but guessed Roland to be the make).
Then, on another list, someone made a claim that the recently-departed
Frank Zappa had something to do with some pioneering R&D on early
guitar synth designs -- a claim I'd never heard made. I knew of his
use of the Synclavier, but I was unaware of any other aspect of Frank's
involvement in regards to designing or consulting. So, I was wondering
of perhaps someone could point me to a book or magazine which covers
early guitar synthesis designs, and the history of guitar synths in
general. Any help appreciated!
Jeff
P.S. Private e-mail is fine too, since this isn't strictly a
Holdsworth topic.
--
Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum
=*=*=*=*=*=*=*=*= atavachron-request@msuacad.morehead-st.edu =*=*=*=
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Talk of a tour, and a book
Date: Thu, 30 Dec 93 18:59:29 EST
After a week away from home, I return to be trapped in the house
by 8" of snow and a car whose usefulness has surely been shortened
by an intimate encounter with a deer. :-/ At least I have plenty
of firewood and CDs (although the food and water may not hold out).
At any rate, I was also greeted on my return by some e-mail from
Claire Holdsworth, who wrote to share the latest news:
* Allan will likely start a California tour in late March, possibly
starting with a week-long stint in an L.A. jazz club. Details will
appear here when available.
* He also has a new book coming out soon. Claire describes it as "a
companion book to the (REH) video..." but she added that he regrets
having done the video and feels as if he "sold out" in making it.
That's all for now... send in a posting, y'all!
Jeff
--
Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum
=*=*=*=*=*=*=*=*= atavachron-request@msuacad.morehead-st.edu =*=*=*=
-------------------------------------------------------------------------------
Date: Thu, 30 Dec 93 22:39:46 -0500
From: rardin%cygnus.dnet@auriga (R. Lynn Rardin)
Subject: HARDHAT AREA
I see that Audiophile Imports is carrying the Japanese version of HHA. Has
anyone gotten curious enough to fork over the big $$ for the import version of
the recording?? :)
-Lynn
-------------------------------------------------------------------------------
Date: Tue, 4 Jan 94 15:56:23 -0600
From: uchima@fncrd8.fnal.gov (Mike Uchima)
Subject: The View
Got a copy of Chad Wackerman's _The View_ over the holidays. I guess my
initial reaction was that I didn't like it as much as _Forty Reasons_, but
it's grown on me with subsequent listenings. The material/arrangements seem
to be more varied than on FR. On the whole, a pretty interesting album, IMO.
Doesn't sound like there's any synthaxe on this one, but Allan seems to be
using some more varied guitar sounds (ala Metal Fatigue) here and there.
Allan actually plays on only 6 of the 13 tracks; but I guess it'll tide me
over until _Hard Hat Area_ comes out! :)
And Carl Verheyen (the other guitarist) isn't bad either...
-- Mike Uchima
-- uchima@fnal.fnal.gov
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Atavachron Digest - The Allan Holdsworth Discussion Digest
Volume 2, Number 73
Friday, 14 January 1994
TODAY'S TOPICS:
==============
Re: Atavachron Digest Number 72
Re: Dan Barrett, Atavachron #72
AH10
NEW SESSIONS/COMMENTARY FROM 'HOARDOSKAVITCH'
Ibanez AH10..
HARD HAT AREA PREVIEW by C. Hoard
-------------------------------------------------------------------------------
Administrivia: The MSU listserv is very, very broken at the
moment; I am using a "quick-fix" to distribute this to all of
you. There's a chance that some of you did not receive Atavachron
Digest #72 -- please let me know via e-mail at the 'preston' account
and I will provide you with any back issues you may need. For the
time being, everyone will be getting the digest version... the
direct mail list will be reinstated as soon as we figure out what
went wrong with the listserv software. Until the listserv is fixed,
all automated requests will be ignored. I apologize for any
interruption or inconvenience this may cause... hopefully we'll be
back to normal within a few days.
Postings will still be accepted and distributed, of course!
-------------------------------------------------------------------------------
Date: Tue, 11 Jan 94 00:17:33 PST
From: edju@chaph.usc.edu (Mortal Kombatant)
Subject: Re: Atavachron Digest Number 72
> * He also has a new book coming out soon. Claire describes it as "a
> companion book to the (REH) video..." but she added that he regrets
> having done the video and feels as if he "sold out" in making it.
What? WHY? How can you sell out by making an instruction video that
is about nothing but your own style?! I mean, Allan did not start playing
top 40 power ballads! Unless those REH people screw him over like all the
other weasels that crawl in the music biz...
Can't wait to get the new book and the new CD!
Eddie
-------------------------------------------------------------------------------
Date: Tue, 11 Jan 94 10:07:05 EST
From: Thomas.Sullivan@SPEECH1.CS.CMU.EDU
Subject: Re: Dan Barrett, Atavachron #72
Dan sayz--
Incidentally, the strings on the Synthaxe neck have no real
function. Pressure on the fretboard is what controls the sound; the
strings are there only to make guitarists feel comfortable. (However,
there is a second set of strings for strumming, and they do have the
expected note-triggering effect.
Dan
--------------
Actually, I do believe the strings on the neck do have a function.
There are hall effect IC's in the body that detect string displacement to
track the player's use of vibrato. Allan uses finger vibrato a lot in his
playing, so I'm sure he'd want his instrument to do this.
Also, about Zappa and guitar synths. I really like Zappa, but one
thing Frank did was to say he tried everything before everyone else. He
may indeed have experimented with guitar synths early on in the 70's. Hell,
any experimental guitarist that didn't at least TRY an ARP Avatar must have
been crazy (or not that experimental!), but most found it too cumbersome to
adapt their own technique to the instrument (I own an Avatar, and yes, it is
difficult to play, I wouldn't tour with one!). But, my point is that I don't
believe that FZ had much of an impact on the guitar synth market at any point
in his career. He waited for the technology to catch up to something he could
use, and even with the Synclavier, he used the guitar interface primarily for
composing. On tour, he just fired of sequences from the Synclavier or had
his keyboardist controlling it. My vote for the earliest guitarists to
really use guitar synths in any sort of serious way would Mike Rutherford and
Steve Hackett for Genesis. I don't know this for sure, but I know they
played Avatars, and they were players who really tried to get what they could
out of an instrument instead of dismissing it because it wasn't perfect.
Elliot, would you double check my Synthaxe supposition? I read that
article on the innards of the SynthAxe back when it came out, but my memory
may be faulty.
--Tom
-------------------------------------------------------------------------------
From: M. P. Hughes
Subject: AH10
Date: Tue, 11 Jan 94 22:51:24 EST
Does anyone own one of these? When were they originally produced, and which
albums do they appear on? I'm curious as to what allan's ideas of the 'ideal'
guitar were ath the time... I mean, what shape is it etc? And how easy is it
to get a hold of them these days?
*** MIKEY: Michael Pycraft Hughes : MD Anderson Cancer Center, Houston TX ***
** Warning! New sig under construction! Hard hats to be worn at all times! **
-------------------------------------------------------------------------------
From: %BURLINGTON@CSICUS.compuserve.com
Date: 12 Jan 94 00:15:14 EST
Subject: NEW SESSIONS/COMMENTARY FROM 'HOARDOSKAVITCH'
Date: 11 Jan/94
return subaddress: s=clh1 (Christopher Hoard -- temporary address)
A couple of conspicuous absences re: the discussion of other bands/musicians
of interest to AH fans, after recently perusing Atavachron #72 and a few
other recent editions... Occasionally AH and I listen to jazz and rock
recordings (usually accompanied by a tall pint of ale)--and the three
artists he's been most excited about (who are still around) are:
Keith Jarrett, Pat Metheny, and Michael Brecker--mostly Brecker--he's
also a big Weather Report fan--as if that wasn't apparent in the
Unmerry-Go-Round and especially the last track on HHA "Postlude" (more
on this later--I'm writing up the Hoardman's rundown of HHA track by
track for you's'all. I hope to become Atavachron's West Coast correspondent
with all the juiciest--factual--tidbits fit to broadcast... as time permits.
So here are a few I haven't seen mentioned--most recent AH sessions:
1 - Never Was Never Will Be (a SOMA reunion of sorts) possibly out
on Polygram/late '94 (4 tracks with AH so far). Rock 'n' roll...
2 - Billy Childs -- He's studying the music now--and I guess the
new release will be out on Windham Hill Jazz mid-94...
3 - Dweezil Zappa - AH decided the music was too "boys", and bailed
out of the session on his way to the Valley... i.e. never happened--almost.
4 - Andrea Marcelli "Oneness" out on Polygram in Japan--AH appears on
only two tracks--U.S. release on Lipstick Records imminent. A good record
in the "Steps Ahead" mold featuring Ralph Towner, Mike Manieri, and Marc
Johnson among many other notables.
5 - A collaboration with Gordon Beck comprised of (mostly) lesser known
jazz standards. Beck finished tracking all the basics with Allan at the
Brewery and Allan had decided either Jeff Watts or Ralph Penland to play
traps--depending on who was available.
6 - New Andrea Marcelli -- AH co-produced and engineered the basic tracks
(and Adrea tells me got a drum sound "beyond his dreams"). Now AH tells me
he will play on only two tracks--very likely with Alphonso Johnson on
ass--who's been gigging at LeCafe now regularly with Marcelli and pianinst
Mitch Foreman (ex-Mahavishnu) -- there's a keyboardist I really would like
to see AH work with..,
Now--here's some music I didn't see mentioned that may appeal (strongly)
to AH fans:
recent Sylvian/Fripp -- if you ever liked Yes or Genesis
someone metioned Bill Frissell -- Where In The World ('92) -- he's awesome.
the new Herbie Hancock due out in April on Mercury (I heard some early
mixes and was blown away--most progressive synth stuff I've heard in
a long while...)
okay, so Metheny is obvious -- Letter From Home is a favorite -- but anyone
who'd ever been to his gigs knows the real Pat is quite different from
the Pat heard on the radio...
If any of you don't know who John Coltrane is--go out and buy 'Crescent'
or 'Coltrane's Sound' -- he's a God in AH's book (or any other great modern
instrumentalist's)
Michael Brecker -- start with 80/81 by Pat Metheny or his latest on GRP
Dead Can Dance -- Into The Labyrinth
Terje Rypdal -- The Singles Collection
Ralph Towner - Open Letter -- or Solstice w/Jan Gabarek
David Van Tiegham
Wayne Shorter -- Atlantis
Thelonius Monk -- Monk's Dream
Gentle Giant -- Free Hand
The above list is diverse, and isn't all jazz--I can tell you AH would enjoy
listening to most of it--but more importantly, I think like you he enjoys most
musicians who demonstrate a strong individual vision and who are difficult
if not impossible to imitate without the imitator sounding like an artistic
counterfeit. We've discussed this topic countless times ad nauseum... but
suffice to say any music where the personality of the musician (if not the
spirit) speaks strongly through a distinctive style and approach should be
of interest to AH fans--because that's precisely what AH does so well.
Someone asked about what device was used for the ethereal chordal textures
in Metal Fatigue -- you'll hear some more stuff like that on HHA, but at the
time we were at Front Page studio in West Hollywood--I remember a very
expensive harmonizer--two of them used in stereo--can't remember the brand
but I'll ask AH what it was... I believe now he's using an ADA that's much
less expensive and today does for 700 bucks what a high-end harmonizer did in
'87 for about five g. Speaking of which, Jeff Berlin vanished from the LA
scene for about three years--I heard he was selling used cars in Florida
(unsubstantiated) but he's has gigs at LeCafe coming up in Feb. AH expressed
interest--if matters could be worked out--in doing another project with JB,
could something be worked out. So far it's highly speculative...
Other news--Chad Wackerman phoned last night and asked me to come see his
band at the Night Winds club in Santa Monica. J. Johnson/bass, C. Verheyen,
W. Fowler, and J. Cox/keys. I told him about Atavachron--and how to get
a private Internet address--he seemed genuinely interested in checking in
with all of you.
Finally, re: mention of Bill DeLap--we had had wheat alast year at one of
AH's favorite watering holes--The Vinne Stubbe at the Old World (a mini-
German theme park) in Huntington Beach. ch. AH names all of DeLap'eations,
and the "largest and longest" being the baritone (starts at a bass guitar A
string) which I photographed for the U.S. cover of HHA--as far as I know
Restless is still planning to use it. It's part of a digital composite
image composed on a Mac Quadra system using Adobe photoshop and paint
programs... Curious to see if any of you will like it... Anyway, AH is
still awaiting the arrival of Ygor, a piccolo guitar he asked DeLap to
build--he'd planned a special piece for HHA that would be a guitar trio or
quartet, with baritone, the doubleneck with standard and fifth tunings (he
played Zarabeth live using this on the tour before last), and Ygor. But
Ygor didn't arrive in time. Boris and Natasha were two other baritones--he
sold Boris--and later regretted it. Boris is featured on 'Moon' on
Andrea Marcelli's 'Oneness,' and Natasha on 'Sphere of Inocenei (I think).
Gonan is featured at the end of the abbreviated reprise of Unmerry-Go-Round
which appears only on the Japanese release of Wardenclyffe--along with an
updated version of Tokyo Dream -- more like a live in studio version.
Gonan is featured only briefly on an interlude on the new album--more on
that later... You can look forward to a little write up of the Hard Copy
exclusive/inside edition on all the scandals surrounding the Hard Hat Area
sessions... The groupiies the label disputes, the Mars Observer conspiracy,
and the beer overdoses...
Your roving correspondennt/C. Hoard
P.S. -- pardon the gaps & typos--a note to any UNIX developers--whoever wrote
VI editor should be tarred and feathered, hanged by their 'nads, and forced
to listen to Kenny G's Duotones and Beavis&Buthead's new CD alternately for
a period of not less than twenty years...
-------------------------------------------------------------------------------
Date: Thu,13 Jan 94 09:52:04 GMT
From: David_Valentine-Hagart@vme.ccc.nottingham.ac.uk
Subject: Ibanez AH10..
>Re. AH10..
>Does anyone own one of these? When were they originally produced, and which
albums do they appear on? I'm curious as to what allan's ideas of the 'ideal'
guitar were ath the time... I mean, what shape is it etc? And how easy is it
>to get a hold of them these days?
How could I resist a reply to this :-) I have just aquired an Ibanez AH10
after a fairly long search of about six years or so. Mine is in the green
finish (forest green in my '85 Ibanez catalogue). The guitar is shaped exactly
the same as the RS135 model of the same year but with added contouring at the
top bout for comfort , like a strat. In fact the shape is quite "stratty"
overall. The body is made of selected light basswood and then a big acoustic
cavity has been routed under the scratchplate between the bridge the neck.
The guitar has a very dry, clear sound and is acoustically loud for an
electric - all to further those harmonics in the sound that AH loves..
The neck is a 25.5 inch scale, with BIG Dunlop frets and an ebony
fretboard, it is flat and very wide. The bridge is a simple knife edge affair
with no locking widgets but coupled with the graphlon type nut it works very
well. The trem sustain block is aluminium (not steel) and the strings go all
the way thru and anchor at the back. This is supposed to increase sustain and
enhance harmonic content and it certainly seems to work ! The string pitch
at the bridge is also narrower than usual. It has one LOUD gorgeous humbucker.
This guitar was first used by Allan on the Metal Fatigue album.
Im *just* getting used to mine - wind it up and it's alive !!
With careful use of the volume and tone controls it's surprising how many
sounds can be had from a one pickup guitar.
I doubt you could pick one up that easily today, though it would be cheap.
Not many were sold as they were seen as a bit of an oddity in those 1984
days of pointy headstocks and trem systems engineered by I K Brunel ;->
I saw a red one for sale in our UK Guitarist mag last month "mint condition
with hard case" 180 uk pounds. I felt like driving the 120 miles to Norfolk
and rescuing it right then.... good luck if you decide to seek one out.
If anyone is interested :-) I can post a PCX to the server (OK Jeff?) from the
aforementioned '85 Ibanez catalogue.
DaVeH..
.............................................................................
_____ __ . CCZDVH . My Guitar wonders why
/ \_/ / __ . @uk.ac.nott.vme . Its not easy to fly
| []| | LLLLLLLLLLLLLL|__| . ~~~~~~~~~~~~~~~~ . Exept if your name
\_\___/\_\ . I can't play this! . Ends in Holdsworth or Vai
...\..........................................................................
-------------------------------------------------------------------------------
From: %BURLINGTON@CSICUS.compuserve.com
Date: 13 Jan 94 20:53:33 EST
Subject: HARD HAT AREA PREVIEW by C. Hoard
[[[*A preview of Hard Hat Area*]]]
AH began work on writing material for Hard Hat Area early in 1993,
and several (if not most) of the tracks were featured on his last
(1993) world tour. AH felt that taking Gary Husband, Skuli
Sverisson and Steve Hunt into the studio after some extended
touring would minimize rehearsing, and maximize "reaming," that,
is result in a looser, live feel--and this record in my mind is
probably the best example of a live feel since IOU. I know there's
been inside Atav. discussions of the problems and grief surrounding
the project with Restless... The truth is they put up about half
the budget that financed WT -- and it was recorded on a
16-track digital Mitsubushi with Allan's compact Trident board. He
carted the machine on loan from friend/Front Page studio owner
Biff Vincent up to Costa Mesa, but couldn't get close to the
sound he wanted and by that time the budget was well into the red
zone...
So in the space of 2-3 weeks he set up at the Brewery, the high-
ceilinged garage at his geodesic home in Vista, and mixed to DAT.
I'd been in the studio for potions of every mix starting with Road
Games--and this is the fastest mix I remember. All the tortuous
"fine tweezing" that found AH at his most obsessive--in retrospect
--paid off handsomely. A number of respected engineers and
musicians have told me on numerous occasions Secrets and WT stand
out among the finest sonic electric albums to date. HHA's mix
(I've only heard it on cassette) sounds more organic--and has more
of a 'club room' feel at times rather than the exquisite polish of
WT, and it's refreshing. AH mastered HHA with a very negative
outlook on the mixes, but he became resigned that he'd taken
them as far as possible short of causing forclosure on his house.
Less so on this outing, AH avoided his usual practice of casting
himself into financial ruin and despair via re-mixing until Hell
freezes over--or until Claire hit him over the head with a keg,
or until he figures they'e about to take him away to an asylum
where they won't allow any English ale paraphenalia (i.e. "the
handpump'). I think most critical AH fans will agree that
Restless got much more than their money's worth on this one...
To my ears the drum mix on some tracks is not quite up to Secrets
or WT--on other tracks the mix is phenomenal. Part of this is
probably Husband's choice of traps vs. Wackerman or Collaiuta; his
playing has never been better. Skuli shines magnificently--and it's
apparent he's probably the most technically adept electric bassist
to come along since Hellborg (or Ponce Pattitini)--to me he's a
lot more exciting as a soloist than all past Holdsworth bassmen, save
Berlin. Steve Hunt, as on WT, solos through lengthy passages
either before or after the guitar solos--they're all guitar
solos save for the last track... yet most if not all the comping
is identifiably AH on guitar or synthaxe.
1 - "Prelude" opens HHA--which incidentally runs about 42 minutes, and
is a brief haunting, heralding openning of pure AH melodic
awakennings over rich synth textures (synthaxe I presume).
2 - After a minute or two we get down to business with the seizmic
blasts of "Ruhkukah" (AH's spelling)--which must mean in Klingon--
rococo deluxe! No doubt some critics will use this word meaning
literally "excessively intricate"--but it's perfectly balanced
and simply jet-fueled fusion that finds the band a coherent
organism, every bit as ferocious and arresting as prime Weather
Report--it's proof that AH may be the only musician that can
keep warp-speed fusion as deeply immersed in artistry as it is
in sport... Hunt opens up with one of his best solo flights; Gary and Skuli push
the rhythms like a
runaway bullet train traversing a minefield/pure delight. AH's
solo here is one of his most playful ever--his rogue's sense
of humour is in evidence here, and this track is worth the
price of admission. He'll piss in my next pint for writing this
--but through each progression he keeps landing on a stretch of
DiMeola-esque revolving arpeggios (only better)--only to
repeatedly explode into scales and progressions old Al D. would
be pressed to... dream about.
3- "Low Level High Stakes" -- the melody in AH's solo here is
the one that keeps bouncing around in my subconscious--one of
those. Hunt opens up with a beautiful piano solo--and except
for those beatiful (unmerry) harmonized intro chords, this
kicks off just like a slower-tempoed straight-ahead ballad--Skuli
then offers a tasty twists of melody over the romantic chords--
some perhaps not quite uncommon in the AH repetoire--this all
builds into an unrestrained intensity that recalls the solo on
'Hindmost,' I can only equate the chord phrasings to Bill Evans at his
least bluesy and most romantic. This was the track AH spent
a whole week re-mixing and nearly trashed because he wasn't happy
with the way the solo worked with the bass and drums--thank
your lucky stars. Hearing it five or ten times over during the
mix -- it didn't quite penetrate my diseased grey matter. After
another ten listens or so--the solo is one of Allan's very best.
4 - "Hard Hat Area" -- not at all what you would expect. Like
the justifiably maligned record industry--Hollywood film makers
should stand up and take notice--AH should be, if any director
would give him a break--a sountrack composer on sound footing
with the best--and here's proof. The disjointed rhythms--the
sounds of tools and construction--breaking into a mechanistic
but primal drumbox pattern that finds AH in a raw, contrapuntal
melodic dance--framed by the orchestral and industrial. HHA
wakes up in a film here--and to me this is pure delight--the
solo reminds me of J. Beck's best bluesy riffing with Stanley
Clarke--only it's pure AH in an evil and playful mood--HHA's
only major departure from Husband on drums--if anyone out
there is not convinced about Skuli--this is where he burns in
a way I've heard no other bassist approach recently (excepting
the new release from Marcus Miller--more on that later).
5 - "Tullio" - a piece that opens with a classic, sinewy
Holdsworthian melody on guitar, medium tempo, weaving over
another evolving, cascading series of changes; as expected
the AH solo journey is generous and scenic, and the chords
another memorable and resonant progression--it resolves in
a beautiful and simple, triumphant melody line--kind of
reminds me of an Italian cinema score when Marcello finally
rescues Sophia... this followed by a long and noodling
Hunt synth solo, again resurrected by that haunting,
melodramatic melody. So who or what is "Tullio" for AH
trivia buffs? It's an Italian first name --that of the
world's best known manufacturer of cycling components--anyone
who's into cycling knows the gentlemen's last name.
6 - "House of Mirrors" - a slow and wrenchingly beautiful ballad with
a series of dramatic chordal twists--starting with a Hunt solo on a
cheezy flute synth patch--oh well. AH, of course pours out his
heart on this one with breathtaking anguish...
7 - "Postlude" -- another short interlude, with synthaxe
melody over dense orchestral chords, resolving in a couple cameo
growls from Gonan, the baritone guitar. I don't know if AH forgot to
mention track 8--or if he intended to include the ensuing jam under
this title--but similar blasts in concert have been called "The Zone."
The only other band that really can pull off such an open blow of
manic, post-modern bop was, of course, Weather Rpt. Hunt and Skuli
are in their element as soloists--AH blows his lead on synthaxe--
Husband erupts again, leaving no doubt that only a handful of drummers
(the other primaries who've recorded with AH and Erskine) who can
interact and improvise at this level.
When some of you get your hands on the Japan or European import--I'll
be curious to read about your reactions and impressions; I'm not
quite as fond of this yet as I am WT--but for the moment like it more
than Secrets. That's not to say it will not grow on me substantially
subsequent spins. For a project made as quickly, and more under
financial/industrial duress than any since Road Games--I have no
complaints. As for it's airplay prospects outside of college and the
occasionally adventurous late night jazz alternative programs--I'd say
they're quite bleak as the tracks tend to be 5 - 7 minutes long.
Without tainting your minds too much before you hear this, I'll leave
some additional comments until after there's been some substantial
discussion in Atvchrn.
[[[News...]]]
Talked to AH last night to clarify a few points re: above. He asked
me not to mention the name of new label until the contracts are
signed and Akira has sorted out some of the details -- but suffice to
say he's had a few offers, and has decided to go with one--with renewed hopes
and fears of course. I think the choice he's made can only be a
1000 percent improvement over the current state of affairs (and
likely at least a return to the budget level he obtained for WT and
Secrets)... So HHA should be the last (new) Restless release--which
means we can expect exactly as before--zero promotion, zero tour
support, etc.
[[[Re: management & royalties]]]
Given the HHA budget, however, you can count on the fact that I'll talk
to Akira re: pursuing royalties dilligently on this one--my observation
is that AH has only ever received any album royalties when he's
threatened legal action. This may not be fact--but I think--the
payments received for the Epic CD release of Velvet Darkness (which
was stopped by AH) were the largest (possibly the only)
significant royalties received by AH since UK.
It concerns me that this Atv. contributor, 'Anis' flames a bit on
Akira--AH has never been happier with a manager in the twelve years
we've been friends. It seems to me Akira's done more to help AH
(on spec) than any other manager has in the past; a musicians mgr.
by dictates of the industry has to be an asshole--and has to piss
people off--I wonder why he pissed off Anis? Akira inherited the deal
with Restless... None of AH's managers (and he's had some of the
worst) have had much to do with the record deals--as far as I know.
It's also a bit unfair to rag on any of the poor souls who work at
Restless--the owner of Restless is the man who cuts the deals and
calls all the shots with money--send your hate mail to Mr. Hine.
Michael Davenport was an asshole--because he wasn't enough of a
good asshole! He was a nice guy--in the wrong business...
[[[Re: AH and Marcus Miller]]]
A last note of interest--I love the new album (it may not be in
the stores yet--but it will be any time) by bassist Marcus Miller,
which features guest spots by Miles, Shorter, Sandborn, and Joe
Sample--I think it's a better record (yes it is slicker than the
Exxon Valdeez) than any of the projects he produced for Miles, Sample,
and Sandborn--he does a blistering cover of Pastoruis' "Teen Town."
If you like slapping bass (which AH generally dislikes)--this record
is the ultimate; the best R&B fusion outing I've heard in years.
The point of interest however is the first (and I think only) guitar
solo on the album played by Miller himself, sounds suspiciously
derivitave of AH--AH told me after I mentioned it that Marcus had
called him last year for a session--another one AH wanted to do, but
couldn't get to due to his touring schedule.
Hoardoskavitch Singing Off...
-------------------------------------------------------------------------------
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those of the individual contributors. I I
Atavachron Digest - The Allan Holdsworth Discussion Digest
Volume 2, Number 74
Monday, 24 January 1994
TODAY'S TOPICS:
==============
Welcome Chris! / REH video / Ibanez
Pictures of the AH10..
Wardenclyffe Tower
Re: Wardenclyffe Tower
Sources for Allan's CDs (cheap, too!)
The Ellusive SOMA/Jeff Berlin/Regrets..
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Welcome Chris! / REH video / Ibanez
Date: Fri, 14 Jan 94 3:44:32 EST
Well, the listserv may be broken at the moment, but I'm not a
beaten man -- Atavachron must go through, and all that... :)
First off, a hearty welcome to Atavachron's latest contributor,
Christopher Hoard. For those of you who are wondering, Chris is
co-author of _Reaching For The Uncommon Chord_, and a longtime
friend of the Holdsworths (not to mention a welcome addition to
the Atavachron family!). Y'all may want to wait until Chris gets
subscribed formally before flooding his mailbox with questions,
though; at present he's using his work account which has limited
e-mailing capabilities (and a non-RFC-822 mailer, it would appear).
He mentioned in private e-mail that he'd be looking into a
Compu$erve account in the near future. Welcome aboard, Chris! :)
_Hard Hat Area_: Remember to be on the lookout, folks. It should be
out in Europe and Japan, and the U.S. relase date is only weeks away
(2/8/94)! I have to admit a twinge of disappointment upon seeing
Chris' rundown of the track list, though... I was hoping there might
be a tune named "K'Ehleyr" on there, which was the name of Worf's
(now-deceased) mate on the TV series "Star Trek: The Next Generation."
In one of Claire's first e-mail notes to me, she asked if I could
find the correct spelling of that, and thanks to the Usenet newsgroup
'rec.arts.startrek.current' it was no difficult task. :)
> From: edju@chaph.usc.edu (Mortal Kombatant)
> Subject: Re: Atavachron Digest Number 72
> > * He also has a new book coming out soon. Claire describes it as "a
> > companion book to the (REH) video..." but she added that he regrets
> > having done the video and feels as if he "sold out" in making it.
> What? WHY? How can you sell out by making an instruction video that
> is about nothing but your own style?! I mean, Allan did not start playing
> top 40 power ballads! Unless those REH people screw him over like all the
> other weasels that crawl in the music biz...
Yeah, that puzzled me as well, and I said so in my reply to Claire.
I halfway wonder if it isn't related to Allan's feelings about players
emulating one another -- although I don't know that the REH video is
going to enable anyone to get "that much closer" to Allan's style. I
tend to view the REH video more as a performance video, myself, but
I've said this before; I just never tried to use instructional
materials like tab books and videos to incorporate new ideas into my
playing... at least not consciously.
> From: David_Valentine-Hagart@vme.ccc.nottingham.ac.uk
> Subject: Ibanez AH10..
> >Re. AH10..
> >Does anyone own one of these? When were they originally produced, and which
albums do they appear on? I'm curious as to what allan's ideas of the 'ideal'
guitar were ath the time... I mean, what shape is it etc? And how easy is it
> >to get a hold of them these days?
> How could I resist a reply to this :-) I have just aquired an Ibanez AH10
> after a fairly long search of about six years or so. Mine is in the green
> finish (forest green in my '85 Ibanez catalogue). The guitar is shaped exactly
> the same as the RS135 model of the same year but with added contouring at the
> top bout for comfort , like a strat. In fact the shape is quite "stratty"
Dave and I have discussed this topic via e-mail recently, but I wanted
to tell Michael that Ibanez's Roadstar II line of the same year were
similar. I have an '85 RG440, which has the same body/headstock as the
AH10. I tried out an AH10 at the time I was buying (a deep, beautiful
red one), but preferred the feel and added pickups of the RG440. It
also had the Edge II locking vibrato setup, which I liked. The RG440 is
still my one-and-only, btw.
Jeff
--
Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum
=*=*=*=*=*=*=*=*= atavachron-request@msuacad.morehead-st.edu =*=*=*=
-------------------------------------------------------------------------------
-------------------------------------------------------------------------------
*** ***
***** [ Posting deleted from digest at author's request. --JP ] *****
*** ***
-------------------------------------------------------------------------------
-------------------------------------------------------------------------------
Date: Tue,18 Jan 94 10:48:57 GMT
From: David_Valentine-Hagart@vme.ccc.nottingham.ac.uk
Subject: Pictures of the AH10..
I have uploaded a file AH10.zip to pub/incoming/lists/atavachron/images
on ftp.uwp.edu. Once unzipped this file contains four PCX files of the
AH10 and a READ.ME which has more detailed info.
Enjoy.. Dave VH
................................................................................
_____ __ . CCZDVH . My Guitar wonders why
/ \_/ / __ . @uk.ac.nott.vme . Its not easy to fly
| []| | LLLLLLLLLLLLLL|__| . ~~~~~~~~~~~~~~~~ . Exept if your name
\_\___/\_\ . I can't play this! . Ends in Holdsworth or Vai !
....\...........................................................................
-------------------------------------------------------------------------------
Date: 20 Jan 1994 14:05:24 -0500
From: "Dave Midgarden"
Subject: Wardenclyffe Tower
After reading so much here about this CD, I finally tracked down a copy (not
easy here in State College). I've only had it about a week, but so far I don't
like it nearly as well as Secrets. The melodies don't grab me as much and they
don't seem to hold together throughout the song. The title track, especially
doesn't do much for me. Of course I seem to remember not liking Secrets much
at first either.
I hope HHA is better, but I probably won't be able to afford it for another
year or so : (
-------------------------------------------------------------------------------
Date: Thu, 20 Jan 94 14:24:08 -0600
From: uchima@fncrd8.fnal.gov (Mike Uchima)
Subject: Re: Wardenclyffe Tower
Dave Midgarden wrote:
>
> After reading so much here about this CD, I finally tracked down a copy (not
> easy here in State College). I've only had it about a week, but so far I don't
> like it nearly as well as Secrets. The melodies don't grab me as much and they
> don't seem to hold together throughout the song. The title track, especially>
doesn't do much for me. Of course I seem to remember not liking Secrets much>
at first either.
>
> I hope HHA is better, but I probably won't be able to afford it for another
> year or so : (
Yeah, I generally agree with you -- I liked Secrets better than WT too. I
think I liked Secrets from the start, though. I recall the first time I
listened to Secrets, the opening cut hit me like a ton of bricks (the best
track on the album, IMO).
Actually, I kind of got the impression that a lot of people (well, at least a
non-trivial perentage) of the people on Atavachron were disappointed in
Secrets. For me, it's one of my favorites. WT was OK, but Secrets was
better, IMO.
BTW, if you're having trouble finding stuff like WT locally, maybe you should
consider mail order.
-- Mike Uchima
-- uchima@fnal.fnal.gov
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Sources for Allan's CDs (cheap, too!)
Date: Thu, 20 Jan 94 15:44:47 EST
> After reading so much here about this CD, I finally tracked down a copy (not
> easy here in State College). I've only had it about a week, but so far I don't
> like it nearly as well as Secrets. The melodies don't grab me as much and they
> don't seem to hold together throughout the song. The title track, especially
> doesn't do much for me. Of course I seem to remember not liking Secrets much
> at first either.
_Wardenclyffe Tower_ took hold a lot quicker for me; I'm still a bit
lukewarm on most of _Secrets_ (although "54 Duncan Terrace" and "Spokes"
are two stand-out tracks, IMO). I agree that "Wardenclyffe Tower" is
not very strong compared to the rest of the disc.
> I hope HHA is better, but I probably won't be able to afford it for another
> year or so : (
I know the starving college student/working-serf role well, which is
why the Internet has proven to be a real boon to me -- I never knew so
many mail order places existed! Most of these places sell CDs at $2-4
below the normal retail price. Although this evens out on small orders
because of the shipping charges, splitting an order between friends
makes mail order an economical alternative to the mall stores. Here are
two places that carry ALL of Allan's domestic CDs (and many of the CDs
on which he appears as a guest). If I'm not mistaken, $12 is about as
high a price as I've seen from either place on any of Allan's discs:
COMPACT DISC CONNECTION
1016 E. El Camino #322
Sunnyvale, CA 94087
Voice & Fax: +1 408 733 0801
================
Internet Orders! -- telnet to holonet.net; login as 'cdc' and browse
================ or actually complete an order -- online!
NOTEWORTHY +1 800 648 7972 [8:30am-6:00pm EST] (fax +1 603 833 9220)
Customer Service +1 603 881 5729 [9:00am-4:00pm EST]
New Release Hotline +1 603 883 1914
17 Airport Road
Nashua, NH 03063 (USA)
Disclaimer: I have no affiliation with either of these companies,
other than the fact that I'm a satisfied customer of both firms. I
have never had anything but prompt, professional service from either
one.
Jeff
--
Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum
=*=*=*=*=*=*=*=*= atavachron-request@msuacad.morehead-st.edu =*=*=*=
-------------------------------------------------------------------------------
From: %BURLINGTON@CSICUS.compuserve.com
Date: 22 Jan 94 17:16:04 EST
Subject: The Ellusive SOMA/Jeff Berlin/Regrets..
I believe in scrounging through the back-issues of Atavachron
somebody mentioned the prospect of forking out $30 for a SOMA
CD. If anyone is interested in the original white-vynil LP,
I understand it is available for $13.00 (includes shipping -
2 day mail), via the address below:
OCCIDENTAL RECORDS
PO BOX 661
Lakeforrest, IL , 60045
Some notes on SOMA--a lot of questions out there about this in
scanning Atavachron's '92 logs... Soma was rececorded from 1984 -
1986 (to the best of my recollection). AH recalls it as one of the
the studio albums he's contributed to that he still terms "a good
record." What's most special about this project was that it's one
of the few recordings other than UK where AH plays in a progressive
rock context--I think some of the tracks are brilliant--although
much of the music is extremely creative--and humorous in a Zappa-esque
manner, it's not without some problems--I'll leave that to others
to comment on.
The project was produced by keyboardist/singer Mark Lauren--
and features one of the most stellar casts of supporting sidemen
ever assembled--including bassists Nathan East, Victor Bailey--and
Pops Popwell (who paired with L. Carlton for many of the Crusaders best
'70s records). The sessions with AH actually came about as a result of
my knowing AH as a journalist, and introducing him to Lauren--who
lived down the street from me when I lived in Westwood circa 1982.
The band back then was a core trio--David Shawn on guitars, Guy Eckstine
on drums and vocals, and Lauren on keys/assorted ethnic percussion, and
vocals. Of all the guests on the record--which also included Patrick
O'Hearn, David Koz, Walt Fowler--and other LA local fusionists --AH
played the most prominent role, playing on about half the tracks...
Of course, SOMA were big early-AH fans--having been heavily influenced
by early Mahavishnu, Tony Williams, Yes, Gentle Giant... and so on. I
think they forged a style quite their own--which incorporated elements
of English prog-rock with a decidedly American-fusion flavor--and an ear
to hyper-pop hooks. I could easily fill a book up with recollections
about my adventures with these characters, in and out of the studio...
SOMA is an essential recording among those where he participated as a
guest. Anyway--Lauren's followup project, now in the works--I think can
bring some of AH's best rock instincts to a wider public--as it is just
'outside' enough to gain some alternative airplay--AH seemed to really
enjoy the 'Never Was Never Will Be' sessions--and label budget permitting
may appear on nearly all the tracks. The musicians that participated
in the Dec. '93 session were Lauren, drummer Armand Rills (an unknown--
but a major talent), and AH. There's talk of an early release of a
couple of the tracks on EP--I hope to have a tape in hand in another
week or so. If any of you have questions/or are interested on more
info on either Soma or Never Was... please feel free to drop me a note
at my current Internet addr. using the sub-address s=clh1 at the
start of your msg text.
Another note -- AN APOLOGY TO ANIL
I quite cretinously referred to Atav. contributor ANIL as ANIS (a
Freudian glitch I suppose) -- and honestly did not intend this as an
insult. To his (I presume) person, friends, and acquaintances, please
accept my sincere apology. If any of you care to seek revenge, just
refer to me as 'whored' or be creative... The unintended schoolyard
jabbing some could have taken this as -- I would argue is not representative
of my sense of humor...
Re: Jeff Berlin
Anybody know of his recent activities/travails? He's playing up in the
valley at Le Cafe (if it's still standing) for I think the first time in
years--and the booking agent tells me it's quite a hot quartet. I'm
going to try to make it up there Sunday night (jan. 23).
I also saw Chad Wackerman's quintet last Friday at Night Winds (in
Santa Monica) -- it was a great gig, and brought to life the material on
The View--Carl Verheyen played very well. Chad's grown tremendously as
a composer between Forty Reasons and now... With Fowler's flugelhorn
and Wackerman's athletic-rock approach to drums--the ensemble has a very
distinctive sound. The audience was quite receptive, although the place
was about 3/4 full. I actually think The View is one of the more
interesting and best realized "fusion" releases to come along in a while--
although the style and approach has more in common with some of the
early Abercrombie/DeJonette projects for ECM that what is often
termed "fusion". The long-standing AH (former) section with J. Johnson
was still intact and vital--and thankfully still intent on evolving in
a positive direction without AH.
-------------------------------------------------------------------------------
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