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Atavachron Digest 7/94
Atavachron Digest - The Allan Holdsworth Discussion Digest
Number 101
Friday, 1 July 1994
TODAY'S TOPICS:
==============
Atavachron Digest Number 100
The Musician's Musician market potential
Pictures, anyone?
Mom & Dad...
John McLaughlin
Equipment Survey (Pickups)
-------------------------------------------------------------------------------
Date: Wed, 15 Jun 1994 16:20:44 -0700
From: rpeck@pure.com (Ray Peck)
Subject: Atavachron Digest Number 100
>From: napier@de.UCSD.EDU (Jim Napier)
>Subject: Helping Allan get bookings
>
>And while we're at it how much would it take to help produce an album? I've
>also read here about problems finding funds to get new albums out. Suppose
>all the netters contributed some small donation to a recording project of
>Holdsworth's choice? Are there enough Atavachron readers out there or
>others interested in Allan's work to help make a significant dent in the
>expense associated with recording?
I've been thinking about this, too. There's a strong possibility that
I may come into enough money in the next year or two to, say, make the
Bruford/Holdsworth project happen. What I'd have in mind is something
like funding an album and selling it through the fan club and concerts
and magazine ads and other select places (Audiophile Imports?
Cadence?). We'd put up the expenses, and get some percentage back
from the sales until we've been payed back.
Is this crazy? Hearing Allan talk about how tight money is for him
doesn't make it seem so crazy to me.
Seems everyone is going "indie". Allan should have a mail-order thing
going like Fripp's "Possible Productions".
-------------------------------------------------------------------------------
Date: Thu, 16 Jun 94 15:21:09 +0100
From: koelman@stc.nato.int (Ton Koelman)
Subject: The Musician's Musician market potential
> I'm very enthusiastic about supporting a future AH recording project,
> although my contribution would be rather modest unfortunately. If
> producing a CD is too expensive, how about funding a limited rerelease
> of Road Games, of which I still do not have a copy! 8(
With AH being the Musician's Musician that he is and 26 million+
Guitar Players out there, why can't he get a million seller???
In my opinion what's needed is more exposure to the GPs out there.
It's hard for me to imagine why a GP regardless of style
would not be interested in the AH material...
Ton K.
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Pictures, anyone?
Date: Thu, 23 Jun 94 10:00:45 EDT
Howdy folks,
With the work progressing nicely on the Atavachron WWW server, I was
wondering if anyone would like to contribute some concert photos for
the project. I'd be glad to return them within a few days, since all
I'd need to do is scan them in -- then they could be back on their way
home.
Thanks,
Jeff
--
Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum
=*=*=*=*=*=*=*=*= atavachron-request@msuacad.morehead-st.edu =*=*=*=
-------------------------------------------------------------------------------
Date: Mon, 27 Jun 1994 16:21:42 +0300
From: Ola Rinta-Koski
Subject: Mom & Dad...
Is it just my imagination, or does AH really quote Zappa's "Mom &
Dad" at 0:58 into "Temporary Fault" on _i.o.u._?
-------------------------------------------------------------------------------
Date: Wed, 29 Jun 94 01:33:15 PDT
From: uk438@freenet.victoria.bc.ca (Graeme McIntryre)
Subject: John McLaughlin
My head is still spinning....... I just got back from watching
John McLaughlin with Dennis Chambers on drums and Joey DeFrancesco
on hammond organ and trumpet. It was a fairly small venue with great
acoustics, so the sound was great. These guys were first rate. They
revamped some old standards ('Round Midnight) and rifled through
some of John's newer material. In one of the later tunes, the keys
player was playing trumpet with his right hand and the hammond with
the left...... nothing rehearsed, just blowing over the changes.
John was playing a hollowbody Gibson D.I.'d ...... his tome somewhere
between Metheny and Pass........ WWWWWWWOOOOOOOOOWWWWWW. What I wouldn't
give to see Holdsworth and McLaughlin trading off......... hoooooweeee!
Cheers.
--
Graeme McIntyre - uk438@freenet.victoria.bc.ca
-------------------------------------------------------------------------------
Date: Thu, 30 Jun 1994 16:05:33 -0500 (CDT)
From: Traci Rachal
Subject: Equipment Survey (Pickups)
Anyone out there in Holdsworth land tried his Signature model
Seymour Duncan pickup????? I was thinking of trying it as a
replacement for my EMG bridge pickup. If so, has it helped to
achieve that fluid, liquid warm tone(mouthful of British dark
chocolate!)
I would enjoy any dicussion on his equipment.
Pat Mc
tcrachal@fiat.gslis.utexas.edu
Thanks
_____________________________________________________________________
-------------------------------------------------------------------------------
========= End of Atavachron Digest ========= I
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those of the individual contributors. I I
Atavachron Digest - The Allan Holdsworth Discussion Digest
Number 102
Wednesday, 13 July 1994
TODAY'S TOPICS:
==============
AH tour dates for the UK in October
WHy is _Sand_ overlooked? [For posting to Atavachron]
RE: WHy is _Sand_ overlooked? [For posting to Atavachron]
What about _Sand_?
_Sand_
-------------------------------------------------------------------------------
Date: Thu, 07 Jul 94 16:54:27 GMT
From: jennifer@material.demon.co.uk (Jennifer Moore)
Subject: AH tour dates for the UK in October
M P Hughes writes:
> This European tour thingie.... any UK (country, not band!!!) dates announced
> yet?
>
> Thanks,
> Michael
Hello all!
....My first posting to this group (or is it not called a group because
it's a list? anyway...) I was fascinated to discover its existence as,
besides being a fan of Allan's music I was also the support act for his
last tour of the UK last May. which was FAB! as you can imagine!
I'm also doing the European bit of the next one in October, to my
joy, hence can oblige with dates (not officially announced yet -
treat as high quality rumour) & hope you'll all forgive me for the
incidental self-publicity :-)
Here we go:
A L L A N H O L D S W O R T H
+ s u p p o r t S i n g l e B a s s
U. K. T O U R D A T E S
( L a t e s t u p d a t e a s a t 5 J u l y )
October 1994
Thursday 6 BRENTFORD Watermans Arts Centre 081 847 5651
Friday 7 & Saturday 8 LONDON Jazz Caf 071 916 6000
Sunday 9 BIRMINGHAM Ronnie Scott's 021 643 4525
Tuesday 11 PORTSMOUTH Wedgwood Rooms
Thursday 13 MANCHESTER Band on the Wall 061 832 6625
Friday 14 STOCKTON Dovecot Arts Centre 0642 611625
Saturday 15 NOTTINGHAM Old Vic t.b.c.
Sunday 16 ABERDEEN Arts Centre 0224 641122
Dates may be added, e.g. we hope Bath on 10th or 12th.
I got these a few days ago from Mark at Marco Polo, Allan's agency
for the UK. He mentioned the possibility of some dates in Germany as
well, but I don't know when, except that it would be after these.
Is anyone reading this in Germany I wonder? Anyway I will post again
if I hear more.
I also have addresses for most of the above venues. Anyone interested
in more info is welcome to e-mail me. I've only been connected to the
net for about a month but I'm planning to set up a Single Bass e-mailing
list which will, of course, be carrying the latest updates of this. But
I'll post any major updates to atavachron as well.
Maybe some of you guys with withdrawal symptoms should take a holiday
in England.....
On a different topic:
> Subject: Helping Allan get bookings
> In Atavachron #99, Jeff Preston wrote -
> >It's too bad we can't manage to use our networking savvy to get
> >him booked in 15 or so strategically-located clubs...
Jim Napier writes:
> Why can't we? . . . .
> . . . . Is there anyone who is reading this that knows enough
> about such things to help us mobilize?
Well for what it's worth, my expertise is at your disposal.
However....
as
Jeff replies:
> . . . . There are a
> lot of logistical problems to overcome, which is why one uses a
> booking agent to begin with! :) It's one thing to get commitments
> from club owners in 15 different cities, but quite another to make
> sure that they're in some sort of sane geographical order (and not
> so far apart from one another that it would entail driving all night
> to get to the next gig), and getting the dates in the proper proximity
> of one another.
..... Which is also absolutely true. So the way I see it is, it _is_
possible, but don't underestimate the effort involved. To put together
a 15-date tour, you (probably) need at least one logistical genius who
wants to make it their life's work for a few months!
So there may or may not be anyone reading this who suddenly
discovers "Oh yes, that's me".
(I say "probably" because I've never done it - the longest I've ever
planned was a week, and that was only within England so the distances
weren't such a big factor.)
But having said that, I'm sure there is room for people to contribute.
The great advantage of the net is that people can be so widely spread
around and still be in close communication. So ISTM that the biggest &
most natural contribution is collecting local information &/or spreading
the word about, exactly as has been suggested already.
E.g. it can be very valuable to discover a promoter who's into the
right kind of music. And you may have a local venue that would be
perfect, but just happens to never have heard of Allan. So armed with
a few CDs and a lot of enthusiasm you can go & chat them up, & if you
get a favourable response, you can let whoever _is_ doing the bookings
know that there's a good contact there. (The same principle applies to
friendly journalists & radio stations.)
My most key bit of advice with regard to this type of conversation
is to watch out in case it starts to sound like
"Well he couldn't get a proper agent, so we are helping out" - Because
that kind of vibe is DEATH to any kind of credibility! (IMHO)
Human beings are wired up for "scarce=valuable" - strange but true.
So by the time you've finished, they should consider it a privilege
should such an accomplished, wonderful, legendary, rarely-available
"guru to a generation" (as the Ronnie Scott's poster said last tour)
deign to grace their venue. (hope Allan never sees I wrote this,
I don't think he approves of being called "legendary" etc.! he is
too modest for it!) Obviously I am exaggerating here and I am not
saying _say_ those things, you have to do it subtly so that that
is the impression they are _left_ with. It's an art form!
Also don't forget that the thing that *really* makes promoters
interested is how many fans a person will bring to their venue. So if,
for instance, you have personally been to a gig of Allan's where it
was totally packed out, do not neglect to drop this bit of information
into the conversation!
Whatever happens after that, discovering or creating a good contact
is still a useful bit of the job done. So I'd say go for it & see
what happens.
On the one hand, you never know, you might turn up 5 different
groovy venues all within 100 miles of each other!... & *then*
you're talking... On the other hand, everyone put together might
only find one club that ends up being included in the next tour....
but wouldn't it be kind of nice if it was the club just round the
corner from *you*! You can't really lose can you?
So good luck people....
Well what a mega-post. I hope it was useful.
Love
--
Jennifer * aka SINGLE BASS * * * * * * * * * * * * * * *
* "manages to make the bass fill the space *
* most people need a band for" - Scene & Heard *
* * * * * * * * * * * * * * * * * * * * * * * * *
-------------------------------------------------------------------------------
Date: Sat, 09 Jul 1994 19:37:56 -0500 (CDT)
From: ALAFOSSE@macalstr.edu
Subject: WHy is _Sand_ overlooked? [For posting to Atavachron]
> It seems to me that whenever favorite Holdsworth albums are mentioned, the ones
> that always come up are _I.O.U._, _Metal Fatigue_, and _Road Games_. These
> are, I agree, excellent albums, and the first two in particular are amongst my
> favorite discs in my entire collection.
>
> Holdsworth's later material (generally, _Atavachron_ and later) tends to get a
> somewhat more lukewarm response, generally attributed to a certain meandering
> quality to the songwriting, or a homogenaeity (sp?) to the overall textures and
> approaches. (I base this conclusion primarily on an a.m.p. thread from a few
> months ago). While I agree that AH's later albums may lack some of the
> vibrancy and innovation of his earlier discs (which is a hell of a standard to
> live up to), it does seem to me as though one disc in particular gets strangely
> overlooked.
>
> That album is _Sand_. Throughout the various threads I've read, both on a.m.p.
> and on Atavachron, _Sand_ is quite possibly the least-mentioned of AH's solo
> albums. I find this very strange, since to my ears, the disc is far and away
> one of his finest.
>
> For example, one of the most common criticisms levelled against AH's later work
> is, as I mentioned above, a certain dull uniformity to the material and their
> textures. For me, _Sand_ has an extremely wide range of sounds and
> compositional approaches, and is also one of the most outright *rocking* discs
> in the Holdsworth catalog, using upfront funk and rock elements which
> effectively obliterate the danger of overly subdued vibes that tend to plague
> some of the later discs.
>
> I also find _Sand_ to be a much more successful use of the SynthAxe than
> _Atavachron_ is. Obviously, _Atavachron_ tends to get a lot of attention as
> the first of the SynthAxe albums, but I find _Sand_ to be much more innovative
> in the textures used. I often find myself begging to differ with AH's choice
> of synth tones, but _Sand_ is highly satisfying (and from all analog equipment,
> no less...!) If _Atavachron_ was putting the foot in the water, so to speak,
> then _Sand_ is the diving off into the deep end.
>
> So what do other people think? Although I enjoy all of the AH solo discs,
> there are always certain aspects of them, particularly the later ones, which I
> sometimes find objectionable: The vaguely "GRP-ish" vibe to _Secrets_, the
> somewhat disjointed nature of _Wardenclyffe Tower_, the rather redundant
> head-solos-head structure that tends to rule _Hard Hat Area_. _Sand_ is one of
> the few albums that I can consistently enjoy without nitpicking over.
>
> Opinions?
>
> --Andre LaFosse
> alafosse@macalstr.edu
-------------------------------------------------------------------------------
Date: Sat, 09 Jul 1994 21:25:41 -0500
From: Dave Midgarden
Subject: RE: WHy is _Sand_ overlooked? [For posting to Atavachron]
I have to admit that I have never heard sand or atavachron. However I do have
Secrets and Wardencliff Towers, as well as his earlier stuff. I like his later
stuff better, though RG and HMF are great disks.
As soon as I can afford HHA I wil see if the trend coninues...
-------------------------------------------------------------------------------
Date: Sun, 10 Jul 1994 20:40:52 -0400 (EDT)
From: X90LESAGE@wmich.edu
Subject: What about _Sand_?
I must say that Adre LaFosse's comments about the apparent oversight of the
significance of the _Sand_ cd were right on the mark IMHO (ooops!, the names
Andre, sorry Andre!, I'm not the best typist and I hate the editor that
I have!). Sand is by far my favorite AH cd. A while back, people were
discussing the apparent lack of technique or musicality in the playing
of band members like Skuli, Hunt, or even GH. Moreover, I think (now, I may
be wrong about this) people were also debating who the best bassist or
drummer is that AH has played with (i.e., in the AH band). IMHO the band
members and there performances on Sand are the criterion against which
all other AH projects should be judged; I really feel that that cd is
truely magical! (flames are welcome!!!). IMHO, Jimmy Johnson blows all of
the other bassists away (excluding Berlin because I've only heard Road Games
once or twice and, thus, am unable to compare Johnson with Berlin). Let's
face it, how many of you out there hum the bass lines from tunes like
Sand when you are in the shower? I think the bass playing on Sand is some
of the most lyrical (improvised as well as written parts) bass playing
I've ever hear. Moreover, GH's playing carries every tune. All the
fills and accents, as well as out-of-control battery, are in the right spots.
What do others think? AH would probably say my criterion notion is bullshit,
for every project is pursued for different reasons and therfore it is futile
to make comparisons. However, pull a pint, kick back, and listen carefully
to all of the AH cds you have. Reflect on what you experienced and post
to the group. It's impossible to NOT make comparisons.
Mark LeSage
x90lesage@wmich.edu
PS Please forgive the horrid grammar used above :)
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: _Sand_
Date: Tue, 12 Jul 94 21:48:55 EDT
I recall being rather disappointed in _Sand_ for a long time...
I'm sure back in 1987, it was a big letdown for me because I was
probably thinking in terms of the album representing a path away
from the guitar. I mean here's possibly the most expressive guitar
player on Earth -- and here he's noodling on this... this... *THING*;
something that cannot (because of the coarseness of the technology)
begin to capture the nuances of the guy's playing. Yeah, it was
depressing to think he might be leaving the guitar behind in order
to more fully explore the SynthAxe. Fortunately, I bought _Sand_ on
vinyl (back then, it was often the only format in which I could find
Allan's albums; I would buy them and tape them, sice I have never in
my life owned a turntable), and quickly laid it aside, lamenting the
guitar-playing world's loss.
Then, when I started noticing that Allan's back catalog was on CD
(post-Internet; I found out about Noteworthy, Wayside, etc.), I bought
_Sand_ on CD. Although the tunes were all familiar, it was if I were
hearing them with new ears. How I could have ever turned my back on
a tune like "Distance Vs. Desire" I will never know. The compositions
are all outstanding.
Btw, I hear through the grapevine that Ozone Records is reissuing
_The Things You See/Sunbird_ on CD *with* the track that was dropped
from the previous CD reissue. Ask around on Usenet for more details.
Jeff
--
Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum
=*=*=*=*=*=*=*=*= atavachron-request@msuacad.morehead-st.edu =*=*=*=
-------------------------------------------------------------------------------
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\ :::: ]I[ :::: /
: ::::::: ]] [[ ::::::: : Administrative requests to:
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I I those of the individual contributors.
Atavachron Digest - The Allan Holdsworth Discussion Digest
Number 103
Thursday, 21 July 1994
TODAY'S TOPICS:
==============
Selling Sand To Arabs...
Re: AH tour dates for the UK in October
Re: Atavachron Digest Number 101
Re: AH tour dates for the UK in October
Sand
Open Letter to Kingsley Durant
-------------------------------------------------------------------------------
Date: 14 Jul 94 17:37:07 EDT
From:
Subject: Selling Sand To Arabs...
Summer salutations, Atavachronians...
So far I've really enjoyed all the postings on Sand -- that album holds
a special place in my heart -- so don't take my post to seriously --
I'm extremely biased on this subject; (I was the guy panting and
pushing a red wagon containing Sam and Emily H. squealing, then silently
leading the cheer "Pud Wud!" that can be heard at the the onset of the
track)... "Pud Wud" is AH's nickname for his youngest--Emily.
>From: ALAFOSSE@macalstr.edu
> That album is _Sand_. Throughout the various threads I've read, both on a.m.p.
> and on Atavachron, _Sand_ is quite possibly the least-mentioned of AH's solo
> albums. I find this very strange...
> I also find _Sand_ to be a much more successful use of the SynthAxe than
> _Atavachron_ is. Obviously, _Atavachron_ tends to get a lot of attention
...> Opinions?
Well -- there's a couple of relevant comments to the above. Atavachron
was AH's *first* record employing a Synthaxe, and during that process he was
still on some level, just "getting to know" the instrument (the g-synth on
MF was not a Synthaxe). The other point about Sand is -- AH went to a
different record label, Relativity, a partnership that didn't work
out (and I don't remember enough about it to dare speculate). But this
was the album -- definitely -- when AH was most infatuated with the
Synthaxe, and probably in his most experimental periods to date. But my
point is, he really had some time to find his bearings on the instrument
before he recorded that album, wherease with Atav. he had just layed
hands on the instrument a short time before he began recording that
album -- so it's obvious why people would make that comment. The other
fact being -- I believe -- it was a longer time before Restless was
able to re-release Sand on CD because of AH's contract with Relativity,
and that labels distribution problems; it wasn't as widely available for
a long time as other AH titles. So with Sand, AH actually had a lot
more time to *write* with the Synthaxe...
Another background note -- at the time I worked in Tustin, and my office was
only a mile down the street from Allan's house (home of the original
Brewery)... So throughout the Atavachron to Secrets period, I enjoyed the
spectacular privelege of taking a slight detour on the way home, and
stopping in for some wheat ale or a cup of tea... And observing, (often
providing Allan with a critical perspective) on his creative process...
If I had any kind of influence on his choices, the album would have been
Sand. "Distance Vs. Desire" was a track I remember urging him to record;
I think I was there when he was just toying with a synthaxe string patch,
and I got hot and bothered and said -- "Write somthething with that!!!
Show people you can compose for films!!!" IMO -- AH would blow away
the competition if Hollywood ever discovered his talents as a composer.
Actually I was trying to encourage him to write and record for another
project we still, someday, hope to realize as an independent release
("Music For Imaginary Films")... but that's *another* story... Anyhow,
I do remember finishing it, and then him apologizing for using it
on "Sand" as he needed that track to make it LP length -- needless to
say I was thrilled he decided to release it on one of his "group" records,
being that it provited such a contrast as a solo piece to his group
tracks -- the other curious track here, of course being "Mac Man," --
which was another collaboration outside of the group...
> From: X90LESAGE@wmich.edu
Mark LeSage comments:
> ...truely magical! (flames are welcome!!!). IMHO, Jimmy Johnson blows
> all of the other bassists away (excluding Berlin)....
> It's impossible to NOT make comparisons.***
***Mark you're a sage for that last bit -- we're all as writers, critics,
fans, thinkers (maybe that's stretching it) drawn into comparisons.
Having said that, I hope most subscribers here can get to a point of
appreciating each release as a different time, different phase in the
life of a great musican -- each of them commands our attention. I
finally picked up _Velvet Darkness_ on CD -- and despite the horrible
conditions AH was forced to record it under -- there were still passages
where I found myself floored and fascinated... Sand (IMO) is one of
the most important AH efforts, because it was an opportunity for AH
to explore synthesis on his own terms -- but more importantly, find
expression in wind-instrument-like sounds, which was the fascination,
if any of you recall, which lured him into music in the first place.
On the bass subject -- I've heard Skuli do amazing things (more in
a live context) that Jimmy would or could never do -- and of course,
the same applies vice-versa -- but if there are five great electric
bassists on this planet -- AH certainly has one of them in his hip
pocket!
Btw, speaking of Atavachron -- did anybody know that Tony Williams
originally recorded *5 or 6* of the basic tracks -- and that AH
threw all of them out except for one? I think that little tidbit
tells us something about the extent AH won't compromise his music,
and something else about Gary Husband's abilities. The other point
was that "Bradford" was the track that featured Chad--and the drum
track was a first take free improvisation between Chad and Allan on
guitar. The "bookends" were added later (i.e. train sounds).
> From: Jeff Preston
> I'm sure back in 1987, it was a big letdown for me because I was
> probably thinking in terms of the album representing a path away
> from the guitar...
Despite my own continuing fascination with synths -- I shared your
alarm, at the time, Jeff. I would have preferred more of the balance
that came into play later on Secrets; and I hoped that AH wouldn't
alienate too many stodgy guitar-head fans not as flexible or not willing
to explore synths with him; AH was very sensitive and conscious of that
risk at the time--and took in a lot of rude, inappropriate comments
from fans at the time--did that in any way change his course? Not in
the least. I definitely second all those notions that if
you don't have *Sand* -- you're missing out on a great statement
by AH -- but I feel equally inclined about Atv & WT -- my personal
faves (as of the past few months). I keep going back to WT and
hearing new things -- but all those albums contribute a piece of what
is a completely intriguing whole -- in terms of improvisation,
rhythm, harmony, and his *singular* melodic conception.
*****************************
Regards, Chris
-------------------------------------------------------------------------------
Subject: Re: AH tour dates for the UK in October
Date: Fri, 15 Jul 1994 09:34:29 EST
From: Peter Evans
> From: jennifer@material.demon.co.uk (Jennifer Moore)
> Subject: AH tour dates for the UK in October
[snip]
> On a different topic:
> > Subject: Helping Allan get bookings
[many valid arguements snipped]
Hi all!
With regard to the 'net planned tour, it might
be best to keep things simple rather than try
to organise the entire tour ourselves (and
possibly risk screwing up, which would cause
a lot of problems :).
The best help we could possibly give Allan may
be to suggest appropriate venues in the various
cities. This (hopefully) will avoid problems
like those Allan had in Melbourne (Aust.) with
a venue that just wasn't used to the type of
music he plays. The sound was apparently terriable
for the first set (I unfortunatly had 'family
things' :(, and the sound guy just had no idea.
The regular booking agencies can then tie all
this together into a tour.
Pete
[another couple of coffees and I might be able
to begin work]
-------------------------------------------------------------------------------
Peter Evans Email: pe@imta.com.au, ...uunet!imta.com.au!pe
Snail: In-Mar-Tech Australia Pty. Ltd.
Phone: +61 3 696-4009 10 Boundary Street
Fax: +61 3 696-7449 South Melbourne, Vic, 3205, Australia
"All the troubles of man are caused by one thing, which is their
inability to stay quietly in a room"
Blaise Pascal
-------------------------------------------------------------------------------
-------------------------------------------------------------------------------
From: KingsleyD@aol.com
Date: Fri, 15 Jul 94 15:07:51 EDT
Subject: Re: Atavachron Digest Number 101
RE: Seymour Duncan's AH pickup.
As it happens, I just received my Klein Electric back from a thorough
makeover by SK himself. Among other things, I had him replace the EMG SA,
which came std on the guitar, with an AH. I've only had one two-hour session
with it, but "liquid, warm, and chocolatey" do in fact come to mind as
adjectives; I'm reminded of a particularly smooth pint of bitters as well.
It's not unlike the JB pickup I use on my PRS, but a little smoother, while
at the same time harmonically full. I *love* it!
Kingsley Durant
-------------------------------------------------------------------------------
Date: Fri, 15 Jul 1994 15:11:47 -0400 (EDT)
From: X90LESAGE@wmich.edu
Subject: Re: AH tour dates for the UK in October
I would like to make a suggestion for a venue to book in the
midwest. I talked to the owner of a club here in Kalamazoo, MI
called Club Soda. The owner books all of the bands that play there.
Get this, I was at Club Soda checking out a couple local bands
(who, BTW, were awsome) and I noticed a guy standing behind the bar
carefully listening to the music and wearing a Holdsworth tour
T-shirt!! It was the owner!! This was my chance!! I called him
over and talked to him about AH, of whom he is a great fan! I told
him about atavachron and his jaw dropped. He never knew anything like
existed and he thought it was fantastic. I told him that there had
been talk about members of the group trying to schedule a midwest
tour via the internet. He thought it was a great idea and said
he would book AH "in a heartbeat!" AH has played at Club Soda on
two occasions, during the _Sand_ and _Secrets_ tours. They were great
gigs! You may recall that I mentioned this club when the tour thread
first started. Kalamazoo is strategically located about equidistant
between Chicago and Detroit on I-94. Both times I saw him, the club
was filled. Well, what do you guys think? Were do we go from here
? The owner of the club gave me his card (with his home phone # I
might add, I think this guy would really like to book AH!). I told
him I would get back to him.
Mark LeSage
The _Sand_ Lover!
-------------------------------------------------------------------------------
From: pvallado@sdcc5.UCSD.EDU (Paolo Valladolid)
Subject: Sand
Date: Fri, 15 Jul 1994 14:59:53 -0700 (PDT)
Some of my favorite Holdsworth compositions are on Sand, like "Pud
Wud". I also like "Mac Man" because it's truly off the wall track
for Allan; not your typical Holdsworth music.
I still wonder sometimes what would have happened had Holdsworth
decided to take up Chapman Stick full-time or decided that the
violin would be a better instrument for him since it offers
considerably more sustain than even electric guitar and it would
give him the freedom to shape a note any way he wants after
initiating it.
I'm looking forward to any new Holdsworth project that will feature
his extra longneck guitars and "music for film". As much as I like
his work in the jazz/rock arena I am intrigued at the notion of him
pursuing these new directions he's been talking about.
--
Paolo Valladolid
pvallado@sdcc5.ucsd.edu
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-------------------------------------------------------------------------------
Date: Sat, 16 Jul 94 01:49:58 PDT
From: uk438@freenet.victoria.bc.ca (Graeme McIntryre)
Subject: Open Letter to Kingsley Durant
Anyone with a Klein and a PRS is too well off as far as I'm
concerned. Please choose the one you like most and mail me the
other immediately....... this is the only fair thing to do. :)
tilnextime.
--
Graeme McIntyre - uk438@freenet.victoria.bc.ca
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