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Atavachron Digest 2/95
Atavachron Digest - The Allan Holdsworth Discussion Digest
Number 122
Thursday, 9 February 1995
TODAY'S TOPICS:
==============
Re: Roland, WWW, replacing the SynthAxe
Re: Roland, WWW, replacing the SynthAxe
Re: Roland, WWW, replacing the SynthAxe
Re: Roland, WWW, replacing the SynthAxe
passing the hat for Allan
Re: Roland, WWW, replacing the SynthAxe
Re: Namm Show Appearance
Re: Atavachron Digest Number 121
Gongzilla, anyone?
Re: Gongzilla, anyone?
Holdsworthianisms...
The High Cost of Good Music
-------------------------------------------------------------------------------
Date: Wed, 25 Jan 95 16:56:58 EST
From: jveatc01@eng.eds.com (Jef Veatch)
Subject: Re: Roland, WWW, replacing the SynthAxe
I feel a little tentative about sending cash to anyone but AH,
himself. However, if it with someone in close contact with him, i
would feel better about it. Also, did AHs insurance pick up the cost
of this thing? You would think so, but you never kno'.
Personally, i would be more than willing to up some money to keep AH
in the music industry. Especially if the theft of the SynthAxe is
what "put him over the edge".
Peace.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
"It's a small world, but i wouldn't want to paint it." - Steven Wright
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
_ /|
Jef Veatch \'o.O'
=(___)=
jveatc01@eng.eds.com U
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
-------------------------------------------------------------------------------
From: Michael Young
Subject: Re: Roland, WWW, replacing the SynthAxe
Date: Wed, 25 Jan 95 13:58:00 PST
Mark LeSage writes:
<< I'm all for chipping in $10-20 for Allan buy what ever he wants, be it a
new synthaxe or ztar. What ever I can do to keep his genius flowing! Whose
going to handle the money and what's there address? LET'S DO IT PEOPLE!!!!!
>>
Yes, me too I'd like to help Allan get his gear sorted out - we all benefit
from this in the long run. We could each pitch in the same amount as the
cost of a CD or concert ticket, and that will really help him.
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Re: Roland, WWW, replacing the SynthAxe
Date: Wed, 25 Jan 95 18:13:13 EST
> From: jveatc01@eng.eds.com (Jef Veatch)
> Subject: Re: Roland, WWW, replacing the SynthAxe
> I feel a little tentative about sending cash to anyone but AH,
> himself. However, if it with someone in close contact with him, i
> would feel better about it. Also, did AHs insurance pick up the cost
> of this thing? You would think so, but you never kno'.
Allan did not have insurance on the SynthAxe (Claire told me this
when I told her I was wanting to spread an "APB" all over the net to
aid recovery of the controller). I didn't realize that Allan had
*borrowed* the unit and put up the DeLap guitars as collateral (you
got that from a reliable source, Paolo...?).
At any rate, I think it is premature to "pass the hat" -- although
I am sure Allan could use it to all our benefit (and I assure you,
there is NO WAY I would consider taking advantage of any trust put
in my handling of any such effort -- I hope it's obvious I would
go to great lengths to help Allan and Claire in whatever way
possible).
> Personally, i would be more than willing to up some money to keep AH
> in the music industry. Especially if the theft of the SynthAxe is
> what "put him over the edge".
I don't think he's "over the edge," so to speak -- Allan's had a lot
of setbacks in his career, and I don't think this theft is any more
significant than many others which have happened to him (in one sense
or another).
I don't want to suggest that we meddle in the Holdsworths' affairs
(and Chris -- or anyone else who has regular contact with them --
please keep my next remarks under your hat, as I do not wish to
offend them), but if I were wanting to do anything of this nature
for Allan, I think it'd be more appropriate if we were to set up a
college trust fund for his children.
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
From: pvallado@waynesworld.UCSD.EDU (Paolo Valladolid)
Subject: Re: Roland, WWW, replacing the SynthAxe
Date: Wed, 25 Jan 1995 17:21:06 -0800 (PST)
> Allan did not have insurance on the SynthAxe (Claire told me this
> when I told her I was wanting to spread an "APB" all over the net to
> aid recovery of the controller). I didn't realize that Allan had
> *borrowed* the unit and put up the DeLap guitars as collateral (you
> got that from a reliable source, Paolo...?).
I will repeat what I said in my previous post: My source was Harvey
Starr, who runs Starr Switch Co. Allan used a Starr Switch
controller on the _Hard Hat Area_ album. Allan visited the premises
of Starr Switch Co. on at least one occasion to try Harvey's
Ztar and ZBoard controllers. When I visited the Starr Switch facility,
the ZBoard that Allan had borrowed for the HHA recording sessions
was back in Harvey's lab for additional tweaking and experimentation.
Harvey said he wanted to just give the ZBoard to Allan but since he is
a bit financially strapped himself he has to hang on to it in case he
can sell it off.
> I don't want to suggest that we meddle in the Holdsworths' affairs
> (and Chris -- or anyone else who has regular contact with them --
> please keep my next remarks under your hat, as I do not wish to
> offend them), but if I were wanting to do anything of this nature
> for Allan, I think it'd be more appropriate if we were to set up a
> college trust fund for his children.
I agree with Jeff here. They are not exactly in dire need of our
help. Now if they had lost their home in an earthquake or something
equally drastic it would be a different matter...
--
Paolo Valladolid
-----------------------------------------------------------------
|Moderator of Digital Guitar Digest, an Internet mailing list |\
|for Music Technology and Stringed Instruments | \
----------------------------------------------------------------- |
\ finger pvallado@waynesworld.ucsd.edu for more info \ |
\ http://waynesworld.ucsd.edu/DigitalGuitar/home.html \|
-----------------------------------------------------------------
-------------------------------------------------------------------------------
Date: Wed, 25 Jan 95 20:30:46 -0500
From: rardin%orion.dnet@auriga (R. Lynn Rardin)
Subject: passing the hat for Allan
>> I feel a little tentative about sending cash to anyone but AH,
>> himself...
>
> At any rate, I think it is premature to "pass the hat" -- although
> I am sure Allan could use it to all our benefit (and I assure you,
> there is NO WAY I would consider taking advantage of any trust put
> in my handling of any such effort -- I hope it's obvious I would
> go to great lengths to help Allan and Claire in whatever way
> possible).
I have no doubt about that, Jeff. :)
> I don't want to suggest that we meddle in the Holdsworths' affairs...
Actually, I think this is something to consider. I know a lot of people that
might be offended by this sort of "handout". Probably few list members would
be against such a scheme, but we should consider how Allan might feel about
it.
-Lynn
-------------------------------------------------------------------------------
Date: Wed, 25 Jan 1995 20:42:08 -0600 (CST)
From: "Patrick M. McMillin"
Subject: Re: Roland, WWW, replacing the SynthAxe
With respect to Allan's DeLaps...Knowing Allan, I am sure
he pays something equivalent to cost on his instuments from
DeLap. I know musicians who are Mesa endorsers, and the
company simply does not give away their product to anyone,
they just give a cut below retail. So, Allan probably has
paid closer to $8000 than $20,000 for the guitars.
By the way, have any other players out there been able to
play a DeLap ? I would love to hear any comments.
Patrick McMillin
-------------------------------------------------------------------------------
Date: Thu, 26 Jan 1995 19:14:16 -0500 (EST)
From: RONNORWOOD@delphi.com
Subject: Re: Namm Show Appearance
I wasn't aware of the synth axe being stolen!!!! WOW! I spoke with Allen
after a show in Atlanta the year before last and asked him why he hasn't been
using the synth axe live, his reply was something like it wasn't very dependable
and kind of a pain. Thats why I was curious about the Roland piece.
Thanks for the reply!
-------------------------------------------------------------------------------
Date: Thu, 26 Jan 1995 19:37:28 -0500
From: AFCPeterS@aol.com
Subject: Re: Atavachron Digest Number 121
> Date: Tue, 24 Jan 1995 22:37:35 -0800
> From: edumark@ix.netcom.com (chris hoard)
> Subject: UK Review...
> But where King Crimson took a great avant-gardist and jazz
> musician, such as Keith Tippett, and used him as a guest
> embellisher--UK included a musician later renowned as one of
> jazz's more "distinctive" voices--as an integral member of the
> band.
This is misleading. King Crimson included such a musician as an integral,
full-time member long before UK was formed: Jamie Muir. Also, KC's music
incorporated elements of the free jazz these musicians were making. By
comparison, UK's jazz influences were conservative and constrained.
Otherwise, I concur with your asessment of UK. :)
Peter Stoller
-------------------------------------------------------------------------------
Date: Mon, 30 Jan 95 16:18:10 -0600
From: uchima@fncrd8.fnal.gov (Mike Uchima)
Subject: Gongzilla, anyone?
Anybody heard _Suffer_ yet? It showed up in CD Connection's database, so I
assume it's out.
-- Mike Uchima
-- uchima@fnal.fnal.gov
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Re: Gongzilla, anyone?
Date: Mon, 30 Jan 95 23:40:58 EST
> From: uchima@fncrd8.fnal.gov (Mike Uchima)
> Subject: Gongzilla, anyone?
> Anybody heard _Suffer_ yet? It showed up in CD Connection's database, so I
> assume it's out.
Great! Now I have something to spend my paycheck on this week! :)
I think Bon Lozaga said his record company would be selling these
for $13.00, postpaid... let me rummage and see if I can come up with
the specifics.
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
Date: Wed, 8 Feb 95 06:30:56 CST
From: Bill=Purcell%TS=SysCall%CS=Hou@bangate.compaq.com
Subject: Holdsworthianisms...
There I was - reading through some newsgroups, minding my own business,
and I see some posts by this Jeff Preston guy who proclaims himself to be
'Moderator of the Allan Holdsworth discussion forum.' I immediately wondered
just how one could come about such a title, then I also noticed an ad for his
web page ... I hastened to access Netscape, and WOW!!
I then realized that Mr. Preston deserves this title as well as any other
lofty monikers which we can bestow upon him. Good work, Jeff! I was not
only shocked to find such a wealth of info. on Allan, but also a forum for
discussing Holdsworthian activities with fellow fans. After some
painstaking research, I found out how to access our mail gateway, and
succesfully subscribed to atavachron. Cool!
I first became aware of Allan's music back in late '86 while I was
attending college. At the time, I was totally into Yngwie Malmsteen and the
neo-classical shred genre. I was also minoring in music theory, studying the
baroque period, counterpoint, etc. I had read several complimentary reviews
of Allan's music by various guitar players, and decided to try it for myself.
I found a copy of _Metal Fatigue_ and instantly became a huge fan. I had
never heard music remotely akin to his, nor guitar playing so strikingly
original.
I've always been able learn guitar material by ear (Malmsteen, Satriani,
etc.), but Holdsworth is another story - having an understanding of baroque
theory is one thing, but jazz theory is another entirely. I recently bought
a copy of "Just for the Curious" to try and gain some insight to Allan's
approach, and found it to be extrememly beneficial. Seeing how he views the
fretboard and derives his chord voicings from different synthetic scales has
allowed me to begin hearing his tunes from a different perspective, and
actually understand where he's coming from to a certain extent. Fun stuff!
If any of you know where I might be able to find either sheet music or TAB
for "Home" off _Metal Fatigue_ or "Sphere of Innocence" from _Wardenclyffe
Tower_, I would greatly appreciate it. I did find TAB for "Sphere..." on the
Nevada ftp server, but it was quite poor.
I feel very privileged to be among those who partake of the generous gift
of music from Allan Holdsworth. His music has opened my mind to new areas
of experience, and my guitar playing to higher plateaus of expression. If
Allan by chance should read this, I wish to extend to him warmest wishes and
gratitude for creating such wonderful music. I look forward to reading and
learning more through the postings to this group ... 'til next time - take
care, everyone!
------------------------
-- Bill Purcell --
------------
---------------------------------------------------------------
| Holdsworth.Metheny.Johnson.Malmsteen.Segovia.Morse.Satriani |
| Listen .. Learn .. Live .. Love |
---------------------------------------------------------------
-------------------------------------------------------------------------------
Date: Thu, 9 Feb 95 09:16:54 PST
From: "Chris Manuel"
Subject: The High Cost of Good Music
Folks,
After reading the positive notes on the Wardenclyffe Tower CD I went to my
local retailer to order a copy (I didn't expect it to be in stock and wasn't
surprised). However, the retailer uses two special order sources, both in the
US. He said that it was available through either but that one warehouse was
taking up to six months to deliver product! The second option will bring the
CD into my sweaty hands in 3 weeks, but will cost a $5 premium bringing the
grand total to $30 Canadian plus the 14% taxes on retail goods. This means I
will be paying $34.20 for a single CD! Of course with the current US/Canadian
exchange at 1.42 this is _only_ $24 US.
What really frosts my butt is the thought that Allan probably makes less per
CD than Michael "My Crotch is Itchy" Jackson. I figured Jackson is a safe slag
on the Atavachron forum, but if anyone is a big fan and reads this, well I
meant it to be OFFENSIVE. :-)
Keep those cards and letters coming.
Chris Manuel
BC Systems Corporation
V: 604.389.3503 F:360.7285
CPMANUEL@BCSC02.GOV.BC.CA
-------------------------------------------------------------------------------
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I I those of the individual contributors.
-------------------------------------------------------------------------------
Check out the Atavachron WWW Page!
http://suppcoo.morehead-st.edu/atav/docs/home.html
Atavachron Digest - The Allan Holdsworth Discussion Digest
Number 123
Saturday, 11 February 1995
TODAY'S TOPICS:
==============
Re: The High Cost of Good Music
RE: The High Cost of Good Music
Allan's Missing Equipment
Re: Allan's Missing Equipment
RE: The High Cost of Good Music
RE: The High Cost of Good Music
Re: Holdsworthianisms...
Martino...and introduction
Re: Passing the Hard Hat & UK Assessment
-------------------------------------------------------------------------------
Date: Thu, 9 Feb 1995 10:31:52 -0800
From: dmick@pongo73.West.Sun.COM (Dan Mick)
Subject: Re: The High Cost of Good Music
> From server@msuacad.morehead-st.edu Thu Feb 9 09:49 PST 1995
> Date: Thu, 9 Feb 1995 12:43:14 -0500
> Comment: The Allan Holdsworth discussion forum
> Originator: atavachron@msuacad.morehead-st.edu
> Version: 5.31 -- Copyright (c) 1991, Anastasios Kotsikonas
> From: "Chris Manuel"
> To: Multiple recipients of list
> Subject: The High Cost of Good Music
>
> Folks,
>
> After reading the positive notes on the Wardenclyffe Tower CD I went to my
> local retailer to order a copy (I didn't expect it to be in stock and wasn't
> surprised). However, the retailer uses two special order sources, both in the
> US. He said that it was available through either but that one warehouse was
> taking up to six months to deliver product! The second option will bring the
> CD into my sweaty hands in 3 weeks, but will cost a $5 premium bringing the
> grand total to $30 Canadian plus the 14% taxes on retail goods. This means I
> will be paying $34.20 for a single CD! Of course with the current US/Canadian
> exchange at 1.42 this is _only_ $24 US.
I got mine from Noteworthy Music through WWW in about 3 days.
>
> What really frosts my butt is the thought that Allan probably makes less per
> CD than Michael "My Crotch is Itchy" Jackson. I figured Jackson is a safe slag
> on the Atavachron forum, but if anyone is a big fan and reads this, well I
> meant it to be OFFENSIVE. :-)
>
> Keep those cards and letters coming.
>
> Chris Manuel
> BC Systems Corporation
> V: 604.389.3503 F:360.7285
> CPMANUEL@BCSC02.GOV.BC.CA
>
-------------------------------------------------------------------------------
Date: Thu, 9 Feb 1995 13:59:57 -0400
From: forres@cisvax.pgh.wec.com (Martin Forrester)
Subject: RE: The High Cost of Good Music
>After reading the positive notes on the Wardenclyffe Tower CD I went to my
>local retailer to order a copy (I didn't expect it to be in stock and wasn't
>surprised). However, the retailer uses two special order sources, both in the
>US. He said that it was available through either but that one warehouse was
>taking up to six months to deliver product! The second option will bring the
>CD into my sweaty hands in 3 weeks, but will cost a $5 premium bringing the
>grand total to $30 Canadian plus the 14% taxes on retail goods. This means I
>will be paying $34.20 for a single CD! Of course with the current US/Canadian
>exchange at 1.42 this is _only_ $24 US.
I've recently ordered some CD's from CDNow! (http://cdnow.com/) and have been
pleased with the prices and delivery. They list Wardenclyffe for about $14
(US). I
only had to wait about three weeks for a backordered Pat Martino disc,
which isn't
bad considering my local record store wasn't sure if they could get it at
all. One of
my recent acquisitions from CDNow was "I.O.U" which had always been glaringly
missing from my AH collection. Now I'm whole!
_________________
Martin Forrester
forres@cis.pgh.wec.com
-------------------------------------------------------------------------------
From: "ToddM"
Date: 9 Feb 1995 20:13:41CST6CDT
Subject: Allan's Missing Equipment
[ Moderator's note: reformatted to < 80 characters/line. --JP ]
Both Guitar Player and Guitar World magazine have e-mail addresses.
Why doesn't someone forward the pertinent details regarding the theft to
both magazines so they can publish the information? They just published
information on Carlos Santana's missing PRS guitars, I'd think that GP
and GW would publish this stuff as a public service, especially since
Allan had two other guitars locked up as collateral. Besides, Guitar
World needs to cover more on the internet than the "Publius Enigma".
Getting the word out is half the battle. Let's fight the good fight for
Allan's sake. A Synthaxe controller is a HIGHLY visible device and just
isn't going to be un-noticed in a pawnshop or at a gig somewhere. I'd
hate to think of some rabid AH fan having it sit in his living room as a
fetish object. Or worse: some idiot thief realized it has no value
without the foot controller so it may be sitting in a landfill somewhere.
It pisses me off bad enough when my own guitars are in disrepair, for them
to be missing altogether would be too much (especially if I didn't really
own the axe). Annoying.
I listened to HHA again last night before I went to bed. I was so pumped
that I didn't get to sleep until 2 a.m. "An exciting brew of heady
goodness".
ToddM - Associate Technician
LaserMaster Technical Support
Services
ToddM@laserm.lmt.com
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Re: Allan's Missing Equipment
Date: Thu, 9 Feb 95 22:30:29 EST
> From: "ToddM"
> Subject: Allan's Missing Equipment
> Both Guitar Player and Guitar World magazine have e-mail addresses.
> Why doesn't someone forward the pertinent details regarding the theft to
> both magazines so they can publish the information?
I'd be happy to do so if I had their addresses. I admit that I am
not a magazine buyer anymore.
> A Synthaxe controller is a HIGHLY visible device and just
> isn't going to be un-noticed in a pawnshop or at a gig somewhere.
I doubt a pawnshop will want it if they can't possibly know if the
thing is functional, and unless the thief had the rest of the setup,
the controller would not be able to do so alone. That makes the gig
hypothesis unlikely as well.
> I'd
> hate to think of some rabid AH fan having it sit in his living room as a
> fetish object.
Me too. I'd like to think Allan's fans are more ethical than that.
> Or worse: some idiot thief realized it has no value
> without the foot controller so it may be sitting in a landfill somewhere.
That is where I fear the controller may be, actually. For exactly
that reason.
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
From: Udo Merkel
Date: Fri, 10 Feb 1995 08:58:49 +0100
Subject: RE: The High Cost of Good Music
From: forres@cisvax.pgh.wec.com (Martin Forrester)
Subject: RE: The High Cost of Good Music
I've recently ordered some CD's from CDNow! (http://cdnow.com/) and have been
pleased with the prices and delivery. They list Wardenclyffe for about $14
(US). I
only had to wait about three weeks for a backordered Pat Martino disc,
which isn't
bad considering my local record store wasn't sure if they could get it at
all.
Just being curious -- was it a new CD? to put it differently, is Pat still being
active? He must be an old hand in guitar jazz meanwhile; I've been a big fan of
his music ever since he faced up in the seventies (as a member of the Chick
Corea/
Eric Kloss bandwagon).
----------
Udo Merkel
merkel@informatik.uni-stuttgart.de
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Re: Holdsworthianisms...
Date: Fri, 10 Feb 95 12:53:18 EST
> From: Bill=Purcell%TS=SysCall%CS=Hou@bangate.compaq.com
> Subject: Holdsworthianisms...
> There I was - reading through some newsgroups, minding my own business,
> and I see some posts by this Jeff Preston guy who proclaims himself to be
> 'Moderator of the Allan Holdsworth discussion forum.' I immediately wondered
> just how one could come about such a title, then I also noticed an ad for his
> web page ... I hastened to access Netscape, and WOW!!
I'm glad you like it. Your glowing review has caused several holdouts
to check out the WWW site, but unfortunately they've been met with some
rude messages about unrecognized MIME types or somesuch -- the server
is down, I'm away from the office, and it'll probably be Friday night
or Saturday morning before it comes back up. Sorry, folks! This'll
teach me to call off sick and leave my Mac in the hands of 34 Windows
users! ;)
> If any of you know where I might be able to find either sheet music or TAB
> for "Home" off _Metal Fatigue_ or "Sphere of Innocence" from _Wardenclyffe
> Tower_, I would greatly appreciate it.
"Home" is transcribed in _Reaching For The Uncommon Chord_; see the
FAQ for ordering information (er, well... give me time to get the
server back online...).
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
Date: Fri, 10 Feb 1995 17:08:34 -0400
From: forres@cisvax.pgh.wec.com (Martin Forrester)
Subject: Martino...and introduction
> I've recently ordered some CD's from CDNow! (http://cdnow.com/)
>and have been
> pleased with the prices and delivery. They list Wardenclyffe for
>about $14
> (US). I
> only had to wait about three weeks for a backordered Pat Martino disc,
> which isn't
> bad considering my local record store wasn't sure if they could
>get it at
> all.
>Just being curious -- was it a new CD? to put it differently, is Pat still
>being
>active? He must be an old hand in guitar jazz meanwhile; I've been a big
>fan of
>his music ever since he faced up in the seventies (as a member of the
>Chick Corea/
>Eric Kloss bandwagon).
No, an old album "Consciousness". My guitar teacher considers my lack of
Pat Martino discs a glaring hole in my guitar appreciation. As far as I
know the last Martino album was "Return" from 1987, but I'm not really
knowledgable.
Since I've ventured away from the AH topic let me redeem myself by a short
introduction, since I've only been lurking on this list, having finally
read all my back postings accumulated over the last few months.
I've been a fan of Allan's music since UK (remember seeing them at the
Orpheum in Boston, Allan looked really bored). I got a lot of playing out
of the albums with Bruford, especially "One of a kind", which has always
been a favorite. Since then I've worn the hell out of vinyl versions of
"Road Games" and "Metal Fatigue", and CDs of everything since then. I only
saw him play once after UK, somewhere around the "Metal Fatigue" era, at
Jonathan Swifts (long gone) in Cambridge, MA. I can't believe it's been
that long. Shameful.
Favorite works with Allan as leader are "Hard hat area", "Metal fatigue",
and "Secrets", but I wouldn't want to live without all the others.
I'm studying jazz guitar here in Pittsburgh, just as a hobby. My old
Ibanez "ES175-style" hollow body doesn't lend itself well to copping AH
licks, with all those super-smooth pull-offs and hammer-ons, but I've spent
some time grappling with "Reaching for the uncommon chord". Other favorite
guitarists include John McLaughlin (seen him about 10 times in concert,
which DOES NOT reflect my relative like of AH and JM), and Pat Metheney
(only some of whose albums I play regularly). Like straight-ahead stuff
like Joe Pass and Herb Ellis too. Go figure.
Enough. This looks like a great group of people (the talk of passing the
hat to replace the Synthaxe was unprecedented, and I love the WWW site,
nice work) and I'm pleased to be a part of it!
_________________
Martin Forrester
forres@cis.pgh.wec.com
-------------------------------------------------------------------------------
Date: Sat, 11 Feb 1995 14:10:34 -0800
From: edumark@ix.netcom.com (chris hoard)
Subject: Re: Passing the Hard Hat & UK Assessment
On Peter's comment in the last issue re: Jamie Muir. Good point. However, I'll
point out in response--while I am a Muir fan and respect him immensely--he's
not the kind of jazz musician--nor really is Tippett--I was referring to.
There are only perhaps a handful of jazz musicians in retrospect--that manage to
forge a genuinely singular voice in terms of their melodic/improvisational
approach. Sure I'm biased about AH. But it wouldn't surprise me from that
standpoint that 50 years from now, when music pundits talk about great 20th
century interpreters of melody/improvisers that list will not include Sun Ra
or Cecil Taylor or Tippett or Muir. It should include Holdsworth, along with
Keith Jarrett, Bill Evans, Michael Brecker, Pat Metheny, John Coltrane,
Louis Armstrong, Ornette Coleman, Bud Powell, Wayne Shorter, Jan Garbarek,
Jaco Pastorius, John McLaughlin, and a several others who've made transcendent
statements from a melodic standpoint -- and have transformed or broadenned
the scope of their instruments (or the genre they pioneered) in the process.
Holdsworth, IMO, is in this league--and we'll all endlessly debate who's at the
top, bottom, and in the middle of this elite gathering of minds. The new
project--a true 'straightahead' jazz effort--should bear out my claims.
On the notion of passing the hat. The sense of charity and support here is
great--and I think AH would applaud us all, knowing if a true crisis ever came,
he could count on some help. But accepting hand-outs from his most devoted
fans is another matter--I'm quite sure he would balk at such a suggestion.
The loss of his synthaxe--while egregious, senseless, and sad--I don't think
AH would consider a crisis.
My suggestion of a demonstration of fan support: let's each mail a couple of
bucks to Mr. Preston (particpation voluntary, of course). We could establish
the official Atavachron Ale Foundation. Since a portion of AH's income is
devoted to obtaining cases of fine American micro-brews for processing on his
English hand-pump (also served generously to a not insignificant percentage of
the population of North San Diego County and greater Southern California)--
we could buy him four or five cases of his favorite brew. Since I happen
to know which local establishment he purchases many cases from, I could
arrange with Jeff to phone in orders, so when AH shows up to pick up his
next two cases on a Friday night--there'll be a little surprise waiting
for him... A note could be passed him by the proprietor--"This one's on
Atavachron!" Depending on the success of the foundation, this scenario
could repeat several times before funds are exhausted. Anyway, that's
just my take--any other bright ideas?
On the Harness--Clare H. has committed to getting a description of the
device to Jeff, when it's ready--but there's still no definite timeframe
on when he'll start up a production run or start taking orders. I know he's
planning on building some as soon as he can manage. JP or I will offer up
more details as soon as we have some.
Bye/Chris
-------------------------------------------------------------------------------
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Check out the Atavachron WWW Page!
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Atavachron Digest - The Allan Holdsworth Discussion Digest
Number 124
Monday, 13 February 1995
TODAY'S TOPICS:
==============
Re: Passing the Hard Hat & UK Assessment
Re: Atavachron Digest Number 123
Gattox
Re: Gattox
Guitar Tone
Re: Gattox
intro
Re: Gattox
Re: Gattox
Re: Passing the Hard Hat & UK Assessment
Holdsworth Tour in Japan ?
Harness / A.H. & Golden Week
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Re: Passing the Hard Hat & UK Assessment
Date: Sat, 11 Feb 95 18:59:02 EST
> From: edumark@ix.netcom.com (chris hoard)
> Subject: Re: Passing the Hard Hat & UK Assessment
> On the notion of passing the hat. The sense of charity and support here is
> great--and I think AH would applaud us all, knowing if a true crisis ever came,
> he could count on some help. But accepting hand-outs from his most devoted
> fans is another matter--I'm quite sure he would balk at such a suggestion.
> The loss of his synthaxe--while egregious, senseless, and sad--I don't think
> AH would consider a crisis.
That's what I was trying to say before -- losing the controller really
sucks, and it's probably not the easiest thing in the world to replace,
but I think we'd appear a bit meddling if we were to start taking up a
collection.
> My suggestion of a demonstration of fan support: let's each mail a couple of
> bucks to Mr. Preston (particpation voluntary, of course). We could establish
> the official Atavachron Ale Foundation.
Somehow that doesn't seem *quite* as altruistic as a college trust
fund... ;) But hey, I'm game. But before anyone seriously considers
sending money, I should probably make an announcement: I do not plan
to be at my present job or location for much longer, so y'all may
want to consider another "trustee" for such a task to keep things
running smoothly.
Btw, this should not impact Atavachron in any way... I'm working on
that, and feel certain there will be no interruption of services. If
all works out the way I envision, I'll even stay on as moderator.
> On the Harness--Clare H. has committed to getting a description of the
> device to Jeff, when it's ready--but there's still no definite timeframe
> on when he'll start up a production run or start taking orders. I know he's
> planning on building some as soon as he can manage. JP or I will offer up
> more details as soon as we have some.
Claire sent a fax outlining the device, but I've managed to leave said
fax in a neighboring town, 60 miles away. :( Now my car is acting up,
and I don't want to risk the trip! I am going to try to help Allan set
up an ad on a fellow Atavachron-reader's commercial WWW site. Hopefully
it will allow on-line ordering through First Virtual, but we are still
in the talking-about-it stage on all points.
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
Date: Sun, 12 Feb 1995 12:21:18 -0500
From: AFCPeterS@aol.com
Subject: Re: Atavachron Digest Number 123
> Date: Sat, 11 Feb 1995 14:10:34 -0800
> From: edumark@ix.netcom.com (chris hoard)
> Subject: Re: Passing the Hard Hat & UK Assessment
>
> On Peter's comment in the last issue re: Jamie Muir. Good
> point. However, I'll point out in response--while I am a Muir
> fan and respect him immensely--he's not the kind of jazz
> musician--nor really is Tippett--I was referring to.
>
> There are only perhaps a handful of jazz musicians in
> retrospect--that manage to forge a genuinely singular voice in
> terms of their melodic/improvisational approach. Sure I'm
> biased about AH. But it wouldn't surprise me from that
> standpoint that 50 years from now, when music pundits talk
> about great 20th century interpreters of melody/improvisers
> that list will not include Sun Ra or Cecil Taylor or Tippett or
> Muir. It should include Holdsworth...
I don't have a problem with your bias towards Holdsworth - heck, that's why
we're all here! - but I do question your bias towards melody in this context.
It omits drummers/percussionists as possible innovators with a "singular
voice," when there are unquestionably such drummers in jazz. Ask jazz lovers,
"what is jazz?," and inevitably you hear about two things: improvisation and
rhythm. So right next to your other important jazzers should be names like
Tony Williams, Elvin Jones and Jack DeJohnette.
Your original statement was something to the effect of UK being the only prog
band with an influential jazz player as a key member. Perhaps I misunderstood
the way you meant "influential"; I was thinking of a jazz musician who
seriously influenced the band's sound. Muir counts. Not only was his own
playing coming from England's burgeoning free improv school, but he steered
KC in a much more improvisatory direction (in a way that Tippett et al did
not), and in particular was an important influence on Bruford. While this
edition of KC worked to meet Muir in the middle in terms of their approach
(even after he left!), UK was a divided band, and UK II made clear that
Jobson and Wetton had no interest in jazz at all.
In the big picture, Holdsworth has been more influential than Muir or
Tippett...but not moreso than Ra or Taylor.
Peter Stoller
-------------------------------------------------------------------------------
Date: Mon, 13 Feb 1995 09:21:02 -0600 (CST)
From: Michael Scott Reno
Subject: Gattox
Well, I've been on this listserv for all of the two weeks since I
first found out about it and must say the talk has been quite interesting
so far.
I was just musing about the second and thus far last time i met
Mr. Holdsworth; it was at a small club in St. Louis called "Mississippi
Nights" during the tour he was doing with Ronnie Montrose...he just
sauntered in, sat at the bar, and ordered a drink (not surprisingly, it
was indeed NOT any type of American pseudo-brew -- a "7 & 7")...
...so, anyway, I decided to try and have a word or two, pay a few
compliments to the man ("oh my god you're just the most incredible
expressive magician of the instrument I can't believe what you do with
that synthaxe blah blah") but, in the midst thereof, I let him know that
one of my favorite albums of his, just for sheer chutzpah value, was
"Velvet Darkness." He, as most of you will probably already have guessed,
gave me a look as if I'd thrown a drink in his face.
"Oh, god..." was his eloquent reply.
The reason I mentioned this in so longwinded a manner is that I
recently got a copy of the CD version of that album with the extra
"alternate takes," and I must in honesty say that the "alternate" version
of "Gattox" absolutely smokes. The things that man can get out of the
supposedly "limited" dorian mode...geez...
The question in my mind is, does he dislike this (and some of his
other albums) so much because 1.) he felt he played badly, 2.) he didn't
like the compositions, 3.) he didn't like the production, or 4.)
something entirely else ?
I almost feel as if I'm annoying him simply by even liking any of
these...
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Re: Gattox
Date: Mon, 13 Feb 95 11:19:37 EST
> From: Michael Scott Reno
> Subject: Gattox
> The question in my mind is, does he dislike this (and some of his
> other albums) so much because 1.) he felt he played badly, 2.) he didn't
> like the compositions, 3.) he didn't like the production, or 4.)
> something entirely else ?
This is discussed at length in the FAQ (Frequently Asked Questions);
please see the Web site at the URL listed in my signature, or send the
following as the first line in an e-mail message to
listserv@msuacad.morehead-st.edu :
get atavachron FAQ
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
Date: Mon, 13 Feb 95 12:34:18 PST
From: "Chris Manuel"
Subject: Guitar Tone
Hey Folks,
This is kind of related to Holdsworth so I'm sending it in.(It's about guitar
tone.) I've got a home recording project going, instrumental rock/jazz (not
fusion), that features a lot of guitar. Over the weekend I was experimenting
with overdrive tone, double tracking and mixing. I'm looking for thoughts and
advice on how I can retain the impact of the saturated tone (Boogie 50 caliber
with the lead channel set to 7) and still hear 12 string acoustic rhythm
parts. If I mix the Boogie stuff low enough to hear the 12 string, the Boogie
parts loose their punch, if I mix for their punch the 12 string is completely
masked.
I'm tracking to ADAT so the basic tracks are clean. I have an Alesis 3060
compressor, Quadraverb II and Boss SE-70 multieffects as signal processing
tools. The SE-70 has a spectral enhancement algorithm that is a little dirty
(32 khz sample rate), so I've got compression, reverb, eq and spectral
enhancement on my palette. Any thoughts on how to mix these together to solve
the problem?
I would have posted to rec.audio.pro but our corporate news server has dropped
all the rec. groups (heavy sigh...) I can't argue with the decision.
Any thoughts appreciated, either through the list serv or direct email.
Thanks.
Chris Manuel
BC Systems Corporation
V: 604.389.3503 F:360.7285
CPMANUEL@BCSC02.GOV.BC.CA
-------------------------------------------------------------------------------
Date: Mon, 13 Feb 95 15:07:41 -0600
From: uchima@fncrd8.fnal.gov (Mike Uchima)
Subject: Re: Gattox
Michael Scott Reno wrote:
> The reason I mentioned this in so longwinded a manner is that I
> recently got a copy of the CD version of that album with the extra
> "alternate takes," and I must in honesty say that the "alternate" version
> of "Gattox" absolutely smokes. The things that man can get out of the
> supposedly "limited" dorian mode...geez...
> The question in my mind is, does he dislike this (and some of his
> other albums) so much because 1.) he felt he played badly, 2.) he didn't
> like the compositions, 3.) he didn't like the production, or 4.)
> something entirely else ?
Well, I won't get too far into the reasons AH doesn't like _Velvet Darkness_
(they're in the FAQ); but I have to agree with you that the "alternate take"
version of "Gattox" is pretty amazing stuff.
I can't help but wonder how he would feel about this album if the recording
had been made under better circumstances. IMO, the material is excellent.
And, given that it's supposedly a recording of a rehearsal, it may be the
closest thing we ever get to a "live" album! :)
> I almost feel as if I'm annoying him simply by even liking any of
> these...
Yeah, makes me feel a little guilty too. I feel like I should send him a
check or something. (Jeff, as far as you know, did Allan ever receive
*anything* for _Velvet Darkness_?)
-- Mike Uchima
-- uchima@fnal.fnal.gov
-------------------------------------------------------------------------------
Date: Mon, 13 Feb 1995 14:32:46 -0600
From: Glenn Astarita
Subject: intro
Hello,
Extremely pleased to find this digest. I hope to fill up some white space from
time to time. My name is Glenn. NYC transplant residing in New Orleans, LA.
Briefly, I have followed Mr H, since the early 70's. From Tony Williams
Lifetime, Softmachine, UK, Tempest, all solo efforts and so on. BTW I think
"Hard-Hat" area is his finest solo recording in years. Also, I am a drummer
and at one time took lessons from the great jazz drummer Andrew Cyrille. On my
wish list would be to partake in a session with AH. Sort of like hitting
Lotto, I suppose. Saw him once with T.W. Lifetime many moons ago at NYC's
Bottom Line. The sound system was horrible that night and everything was
distorted...But anyway.......Good to be hear.
Glenn
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Re: Gattox
Date: Mon, 13 Feb 95 16:26:27 EST
> From: uchima@fncrd8.fnal.gov (Mike Uchima)
> Subject: Re: Gattox
> Yeah, makes me feel a little guilty too. I feel like I should send him a
> check or something. (Jeff, as far as you know, did Allan ever receive
> *anything* for _Velvet Darkness_?)
If I understand correctly, he's received more royalties for _Velvet..._
than for anything else, but don't take that as gospel. Even if that is
accurate, it has done nothing to endear the album to Allan.
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
Date: Mon, 13 Feb 95 16:06:20 -0600
From: uchima@fncrd8.fnal.gov (Mike Uchima)
Subject: Re: Gattox
> > From: uchima@fncrd8.fnal.gov (Mike Uchima)
>
> > Yeah, makes me feel a little guilty too. I feel like I should send him a
> > check or something. (Jeff, as far as you know, did Allan ever receive
> > *anything* for _Velvet Darkness_?)
>
> If I understand correctly, he's received more royalties for _Velvet..._
> than for anything else, but don't take that as gospel. Even if that is
> accurate, it has done nothing to endear the album to Allan.
>
> Jeff
Yeah, that'll teach me to get my facts straight before posting. For some
reason, I was under the impression that Allan had *never* been compensated.
Looking back through Chris Hoard's interview, I realize that he in fact *did*
receive royalties, though it was 18 years (and a threatened lawsuit) later.
The bad feelings must run pretty deep, if he'd have distribution of the CD
reissue halted, in spite of the fact that the album's made him more money than
anything else.
Ahh well, at least Tony Williams' _Believe It_ -- which dates from the same
general period of time -- is still in print...
-- Mike Uchima
-- uchima@fnal.fnal.gov
-------------------------------------------------------------------------------
From: pvallado@waynesworld.UCSD.EDU (Paolo Valladolid)
Subject: Re: Passing the Hard Hat & UK Assessment
Date: Mon, 13 Feb 1995 10:19:17 -0800 (PST)
> There are only perhaps a handful of jazz musicians in retrospect--that manage
to
> forge a genuinely singular voice in terms of their melodic/improvisational
> approach. Sure I'm biased about AH. But it wouldn't surprise me from that
> standpoint that 50 years from now, when music pundits talk about great 20th
> century interpreters of melody/improvisers that list will not include Sun Ra
> or Cecil Taylor or Tippett or Muir. It should include Holdsworth, along with
Hm. Muir is already immortalized in Derek Bailey's classic _Improvisation:
Its Nature And Practice In Music_ (along with Paco Pena, Steve Howe,
one of the Shankars representing Indian classical, Steve Lacy, and others).
Ra and Taylor pop up in jazz history texts.
> On the Harness--Clare H. has committed to getting a description of the
> device to Jeff, when it's ready--but there's still no definite timeframe
> on when he'll start up a production run or start taking orders. I know he's
> planning on building some as soon as he can manage. JP or I will offer up
> more details as soon as we have some.
I'm sorry, I must have missed something. What is the Harness?
--
Paolo Valladolid
-----------------------------------------------------------------
|Moderator of Digital Guitar Digest, an Internet mailing list |\
|for Music Technology and Stringed Instruments | \
----------------------------------------------------------------- |
\ finger pvallado@waynesworld.ucsd.edu for more info \ |
\ http://waynesworld.ucsd.edu/DigitalGuitar/home.html \|
-----------------------------------------------------------------
-------------------------------------------------------------------------------
Subject: Holdsworth Tour in Japan ?
Date: Tue, 14 Feb 1995 11:53:25 +0900
From: "T.Higuchi-Marketing Training"
Hi,
Does anyone know A. Holdsworth will live in Japan in May ?
As some of you may know, the first week of May is a long time
vacation in Japan, called Golden Week. Three years ago, A.H.
came to live at that time, and I went to. So two years ago,
I thought he would come the same time, so waited in Tokyo without
going any vacation, but he didn't. Last year, I forgot about A.H.,
and travelled around, while he came...
I am wondering I will be able to leave Tokyo area or should stay
to see A.H. in Golden Week. :-)
thanks
T.Higuchi
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Harness / A.H. & Golden Week
Date: Mon, 13 Feb 95 22:16:07 EST
> From: pvallado@waynesworld.UCSD.EDU (Paolo Valladolid)
> Subject: Re: Passing the Hard Hat & UK Assessment
> I'm sorry, I must have missed something. What is the Harness?
It was briefly discussed last August; it seems to be a passive
power attenuating device of some sort, but without Claire's fax
in front of me, I hesitate to say exactly what it is. :) Allan
tried to interest Marshall (the amp manufacturer) in it at last
summer's NAMM show in Nashville, and at one point I think they
*were* interested, but I suppose nothing ever came of that. At any
rate, he is wanting to sell the Harness directly now -- each one
hand-built by Mr. H. himself -- and I've volunteered my HTML skills
to help him advertise it (NOT via the MSU server, btw).
>From: "T.Higuchi-Marketing Training"
>Subject: Holdsworth Tour in Japan ?
>As some of you may know, the first week of May is a long time
>vacation in Japan, called Golden Week. Three years ago, A.H.
>came to live at that time, and I went to. So two years ago,
>I thought he would come the same time, so waited in Tokyo without
>going any vacation, but he didn't. Last year, I forgot about A.H.,
>and travelled around, while he came...
If only you had known of Atavachron *last year*... :-/
Keep watching here -- or the tour dates section of the WWW server;
if Allan plans to play Japan during Golden Week, I suspect we will
know about it by early April. His wife, Claire, hasn't mentioned
anything about *any* tours so far this year, but stay tuned... you're
looking in the right place for news.
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
I ========= End of Atavachron Digest =========
\ :::: ]I[ :::: /
: ::::::: ]] [[ ::::::: : Administrative requests to:
::: ]] [[ ::: listserv@msuacad.morehead-st.edu
''::]]]]]] ]] [[ [[[[[[::''
::: ]]] ]] [[ [[[ ::: Postings to:
::: =a=t=a=v=a=c=h=r=o=n= ::: atavachron@msuacad.morehead-st.edu
::: ]]] ]] [[ [[[ :::
,,::]]]]]] ]] [[ [[[[[[::,, For more info, send HELP as first
::: ]] [[ ::: line in e-mail to the listserv above.
: :::::: ]] . [[ :::::: :
/ :: ] ::: [ :: \ All opinions expressed herein are
I I those of the individual contributors.
-------------------------------------------------------------------------------
Check out the Atavachron WWW Page!
http://suppcoo.morehead-st.edu/atav/docs/home.html
Atavachron Digest - The Allan Holdsworth Discussion Digest
Number 125
Wednesday, 15 February 1995
TODAY'S TOPICS:
==============
Re: Guitar Tone
Re: Martino & Brew
Hard Hat Area - An Appreciation
End of HHA Review
Re: Hard Hat Area - An Appreciation
Re: Eddie V.H.
Re: Eddie V.H.
The Return (yet again) of Velvet Darkness?
-------------------------------------------------------------------------------
Date: Mon, 13 Feb 1995 22:57:23 -0600 (CST)
From: "Patrick M. McMillin"
Subject: Re: Guitar Tone
On Mon, 13 Feb 1995, Chris Manuel wrote:
> Hey Folks,
>
> This is kind of related to Holdsworth so I'm sending it in.(It's about guitar
> tone.) I've got a home recording project going, instrumental rock/jazz (not
> fusion), that features a lot of guitar. Over the weekend I was experimenting
> with overdrive tone, double tracking and mixing. I'm looking for thoughts and
> advice on how I can retain the impact of the saturated tone (Boogie 50 caliber
> with the lead channel set to 7) and still hear 12 string acoustic rhythm
> parts. If I mix the Boogie stuff low enough to hear the 12 string, the Boogie
Patrick McMillin writes:You may have tried this, but it works
very well. Simply pan the 12 string parts all the way hard
left and right...also remove a few of the doubled bass strings,
at least the 5th and 6th sets to only one string. In fact you may
try taking both E's of all together or try to avoid hitting them
in this situation. The reason for all this is so that you can really
hit the tape hard with the acoustic tracks and get that lush, high
steel tone. The low end boom is probably what is limiting your
even mix. And finally, pan the Boogie parts all the way center,
(Boogies sound great this way) and can keep all that great punch.
Pat
Austin, TX
-------------------------------------------------------------------------------
Date: Wed, 15 Feb 1995 09:27:34 -0500
From: KingsleyD@aol.com
Subject: Re: Martino & Brew
RE: the Pat Martino thread. His latest release is _Interchange_, (1994) a
gtr-piano-bs-dr quartet (featuring Marc Johnson on bass, btw) and it is
*fabulous*. He's got another one coming out soon, apparently, but is having
troubles with his label (Muse) which wants him to stay in the hard-bop-guitar
bag and which doesn't want anything to do with the electronic-orchestral
music Pat's been creating, using some form of guitar-synth controller, but I
know not which. Sound familiar?! There's an interesting profile out in a
recent (Feb?) issue of _Musician_, and Resnicoff wrote a piece on him in last
Sunday's NY Times.
RE: Hoard's suggestion (a little token of our appreciation for the brewer).
What a nice idea; count me in! Especially since he doesn't seem to be
headed for Cleveland (where there are a couple of rather nice brew-pubs
awaiting, ahem...) And, Chris, I'm anxiously awaiting the results of the new
AH project - I'm in complete agreement that AH will eventually come to be
regarded as one of the *major* voices in the music, irrespective of
instrument. Would be nice if it happened in our lifetime :-)
Later, Kingsley
-------------------------------------------------------------------------------
Date: Wed, 15 Feb 95 08:30:34 PST
From: "Chris Manuel"
Subject: Hard Hat Area - An Appreciation
I'm a big fan of Allan Holdsworth's playing and writing. This is a truth, even
before I listened to "Hard Hat Area". Fortunately, I remain a fan after
listening to HHA. However I'm going to start with a criticism: the CD is too
short. Total running time is under 42 minutes! I recognize writing a CD's
worth of material is not a trivial task, but I would be happy to hear an
additional thirty minutes of out take solos, wouldn't you? After all, there's
no such thing as the definitive improvised solo. I'm not going to do a
track-by-track analysis, just some general thoughts.
Guitar Tone
In my first post to the group I spoke of the change in Allan's tone from
earlier recordings. It seems like each year produces a further softening of
the attack harmonics in his guitar sound. I sampled part of a track and did a
frequency analysis in Sound Designer II and found that there is precious
little happening above 10 kHz. Granted this is a rough analysis with the
guitar sitting right in the middle of the mix but does suggest a long-term
softening in tone. I compared the _evil_ Velvet Darkness tone as an example of
earlier work. Accepting the fact that it is a really wanky CD, it does show a
much brighter guitar sound with lots of harmonics in the 12 to 14 kHz range.
As he is quoted as saying (over and over) that he draws inspiration from wind
instruments it's understandable to hear him working towards fewer attack
harmonics. The first chiming note struck at the start of the Prelude
improvisation sets the stage for the whole CD.
Some of the solos sounds are a little too soft for my taste though. In track
2, at around 4 minutes in, he plays some double stop fourths and fifths that
should nearly fry the speaker with intermodulation distortion but even they
remain smooth because of the muted tone. In my first post I wondered if the
Holdsworths had moved back to England - influencing his tone toward the more
bucolic. Since then I've read the Atavachron group enough to realize that the
Holdsworths remain in California. So, a new theory: maybe his SynthAxe tone,
driving the Oberheim Matrix 12, has influenced his guitar tone. Probably the
two, guitar and synthaxe tones, are converging.
One of the interesting offshoots of the smoother tone is the emphasis of some
of the formant frequencies common to spoken language. Maybe he's trying to
move to the "talking guitar" ideal. There is a woody resonance in the more
muted tone that contrasts really nicely with Steve Hunts slightly buzzier solo
synth tone.
With all this talk of computer analysis and tone, you're probably thinking
this guy is listening to the CD through some funny looking multimedia
speakers. Just to put my listening environment into the equation, I'm in my
home studio/office listening to the CD play from my Mac's internal Sony CD-ROM
drive running through a Mackie 1604 mixer flat into an Alesis RA 100 power amp
and a set of Alesis Monitor One speakers. The Monitor Ones are smooth but
true! The weak link is the audio output side of the CD ROM drive (around 86 dB
SNR).
Reverb Programming and Solo Tone
Perhaps part of the softening of Holdsworth's tone is the thicker reverb
programming he applies to his guitar on this recording. Often his guitar
appears farther back on the sound stage than the drum kit, thanks to a
slightly waterlogged reverb setting.
Rhythm Guitar Tone
The "other" tone that is as much a signature for Holdsworth is the chorusy,
clean rhythm tone he uses throughout the recording. One of the interesting
facets of his rhythm playing are the tight clusters he uses in voicing chords
with lots of upper partials. What may appear to be heavily chorused maybe
voicings with unisons pushed slightly out of tune.
Synth, Samples, and Computers
The title track, Track 4, screams computer sequence. Unfortunately there is an
undertone in the scream ... cheezy. The groove, such as it is, is quantized
into Lawrence Welk Land.In addition the percussion samples don't have much pre
sence and appear really weak when the guitar finally enters at the 3 minute
mark. Maybe the samples are OK, it's just that the guitar is so wonderful!
Walter Becker was quoted in Guitar Player's Dec. '94 issue: "I hate when
people have the drum machine play fills. I tried not to imitate a drummer, but
to create a groove and work over it." I would suggest that we ask drum
programmers to program funky fills. Enough said.
Steve Hunt's solo tone on Hall of Mirrors (Track 5) is very reminiscent of
Allan Holdsworth's synth axe tone, in addition, some of the quartal lines show
a heavy Holdsworth influence. Although uncredited, there seems to be some
rhythm tracks featuring that quacking duck, Oberheim-with-breath-controller
sound that Holdsworth used to interesting effect on some earlier recordings.
Solo Symmetry
One of the appeals of Allan Holdsworth's soloing is his tendency to jam the
bar with a LOT of notes. This in and of itself isn't that appealing - there
are plenty of technically proficient guitarists who can put as many notes in.
The interesting thing is the way he uses odd numbered groups of notes, no
steady 16ths or 16th triplets or 32nd note groups, to place some interesting
rhythm figures on each downbeat. It seems like there are times he's thinking
of a tonal colour, or harmony, against a certain chord and will stuff as many
notes on the chord as are necessary to "paint the colour". If it takes 5 notes
to spell the chord then the note groupings start coming in quintuplets. This
observation won't be that popular but I'll make it anyway: Eddie Van Halen
uses similar rhythmic structures in his playing as well. Maybe Eddie actually
listened to Allan at one point (the last is stated firmly tonque in cheek).
More to follow ...
Chris Manuel
BC Systems Corporation
V: 604.389.3503 F:360.7285
CPMANUEL@BCSC02.GOV.BC.CA
-------------------------------------------------------------------------------
Date: Wed, 15 Feb 95 08:32:42 PST
From: "Chris Manuel"
Subject: End of HHA Review
My mail application wouldn't let me post the whole review so here's the rest:
Rhythm Section
Gary Husband brings his unique, splashy drum style to the project. I would
venture to say that his drumming has as much to do with the style of the band
as Holdsworth's playing and composition. It certainly is a freer band than the
Road Games era. Can you imagine a Holdsworth band with Dave Weckl at the drum
controls? Come to think of it I guess I made that criticism earlier under the
computer sequence heading ...
Skuli Sverrisson acquits himself well on this release. The odd intonation
problem aside he plays with a full tone that fills out the bottom end. I would
like to hear him work with Gary Husband on an "ON" night. I suspect there is
more there than we hear on the CD.
The Big Question!
Anyone who has ever been a Holdsworth booster has to have asked the Big
Question: why is this guy still struggling and not accepted for the rare and
unique improviser he is? I'm going to provide my version of the short answer:
the jazz guys don't hear it because he's using an overdriven tone and the rock
guys don't hear it because the tunes are "tough" to follow. I recognize this
thesis is made of swiss cheeze as Mike Stern plays with even more of an
overdriven rock sound and some of the rock guys can stay awake for longer than
3 chords in a row. So, maybe I don't have the answer. Let's hope that enough
people keep buying and talking about Allan Holdsworth's work that we can hear
more next year.
Chris Manuel
BC Systems Corporation
V: 604.389.3503 F:360.7285
CPMANUEL@BCSC02.GOV.BC.CA
-------------------------------------------------------------------------------
From: pvallado@waynesworld.UCSD.EDU (Paolo Valladolid)
Subject: Re: Hard Hat Area - An Appreciation
Date: Wed, 15 Feb 1995 11:39:15 -0800 (PST)
> In my first post to the group I spoke of the change in Allan's tone from
> earlier recordings. It seems like each year produces a further softening of
> the attack harmonics in his guitar sound. I sampled part of a track and did a
> frequency analysis in Sound Designer II and found that there is precious
> little happening above 10 kHz. Granted this is a rough analysis with the
This comes from his continuing efforts to refine his legato style.
He is has been working on initiating notes by hammering them on with
left hand fingers rather than the usual fret-n-pluck method as well
as working on playing plucked notes softer than hammered-on notes.
He also developed the ability to play descending hammer-ons; that is,
tapping notes going down the neck rather than pulling them down.
This doesn't seem like a technique that comes naturally; more like
a skill that has to be acquired (speaking from my own experience with
the Stick, one which I've been practicing rudiments for two weeks now).
These refinements in technique have had a greater effect on Allan's
tone than any specific equipment changes.
When I attended his "Mesa/Boogie" clinic (quotes appear because he
actually never talked about Boogie amps) last summer, his right
hand did not move very much. He didn't even use a pick with the
SynthAxxe; triggering notes using fingerstyle plucking or
pressing the six trigger buttons. 90% of the action came from his
left hand.
> of the formant frequencies common to spoken language. Maybe he's trying to
> move to the "talking guitar" ideal. There is a woody resonance in the more
> muted tone that contrasts really nicely with Steve Hunts slightly buzzier solo
> synth tone.
He's often mentioned that he wants a sustaining tone without the
grungy side effects of using distortion/overdrive. As for Steve Hunt,
his phrasing is too Allan-like, which is why I'm looking forward to
the Holdsworth/Gordon Beck collaboration which would provide Allan
with a sparring partner who has a more distinctive improvisational
personality.
> Reverb Programming and Solo Tone
>
> Perhaps part of the softening of Holdsworth's tone is the thicker reverb
> programming he applies to his guitar on this recording. Often his guitar
> appears farther back on the sound stage than the drum kit, thanks to a
> slightly waterlogged reverb setting.
Am I the only one who thinks his solo on "Ruhkukhah"(sp?) sounded
more in the style of Scott Henderson? Henderson is another fine
player whose playing sounds like "Holdsworth-meets-McLaughlin-meets-
Albert King". Some of the other solos on Hard Hat Area also seem
to bring back the Clapton influence.
> Rhythm Guitar Tone
>
> The "other" tone that is as much a signature for Holdsworth is the chorusy,
> clean rhythm tone he uses throughout the recording. One of the interesting
> facets of his rhythm playing are the tight clusters he uses in voicing chords
> with lots of upper partials. What may appear to be heavily chorused maybe
> voicings with unisons pushed slightly out of tune.
He temporarily stepped out of form on "In The Mystery" (Metal Fatigue).
There he played snappy funk guitar riffs. I don't hear this kind
of rhythm guitar playing on other Holdsworth recordings so this
must have been a one-time lark. This is the kind of funk rhythm guitar
that one is more likely to hear from Paul Jackson Jr. on countless
R&B and lite jazz albums than from Allan.
> Solo Symmetry
>
> One of the appeals of Allan Holdsworth's soloing is his tendency to jam the
> bar with a LOT of notes. This in and of itself isn't that appealing - there
> are plenty of technically proficient guitarists who can put as many notes in.
> The interesting thing is the way he uses odd numbered groups of notes, no
> steady 16ths or 16th triplets or 32nd note groups, to place some interesting
> rhythm figures on each downbeat. It seems like there are times he's thinking
This is what John Coltrane and Wayne Shorter are known for; soloing
in a manner that rhythmically "floats" on top. I heard the influence
of both saxophonists in Allan's phrasing. I also hear a tiny bit
of Shankar (the great Indian classical violinist) in the way he
slides his fingers and the way he manipulates the vibrato bar.
I'm not sure if the Indian phrasings come from a conscious awareness
of Indian classical music or whether he simply discovered neat
things to do with vibrato bars.
> to spell the chord then the note groupings start coming in quintuplets. This
> observation won't be that popular but I'll make it anyway: Eddie Van Halen
> uses similar rhythmic structures in his playing as well. Maybe Eddie actually
> listened to Allan at one point (the last is stated firmly tonque in cheek).
Yes, he has freely admitted this; even going so far at one point to
state that part of what he does with two-handed tapping was inspired by
what Allan regularly does with hisleft hand alone.
--
Paolo Valladolid
-----------------------------------------------------------------
|Moderator of Digital Guitar Digest, an Internet mailing list |\
|for Music Technology and Stringed Instruments | \
----------------------------------------------------------------- |
\ finger pvallado@waynesworld.ucsd.edu for more info \ |
\ http://waynesworld.ucsd.edu/DigitalGuitar/home.html \|
-----------------------------------------------------------------
-------------------------------------------------------------------------------
Date: Wed, 15 Feb 1995 15:11:33 -0500
From: jerfo@student.umass.edu
Subject: Re: Eddie V.H.
>[...] However I'm going to start with a criticism: the CD is too
>short. Total running time is under 42 minutes! I recognize writing a CD's
>worth of material is not a trivial task, but I would be happy to hear an
>additional thirty minutes of out take solos, wouldn't you? [...]
I agree, though I'm sure Allan will any solo out takes locked up with the
key safely hidden. I wouldn't even mind hearing a newer version of an older
"classic" thrown in the mix with the new material, just to stretch a few
extra minutes out of a disc...say "Letters of Marque" with Gary Willis on bass
and Vinnie Colaiuta on drums? (I know...I know...but it's a dream of mine.)
Just as I side note, I'd love to be able to get my hands on a copy of
Wardenclyffe Tower +3. Any suggestions as to where I can do so?
(Also, being the curious little brat that I am, I'd love to get my paws on a
copy of "The Things You See/Sunbird"...)
>The title track, Track 4, screams computer sequence. Unfortunately there is an
>undertone in the scream ... cheezy. [...]
At first, I felt the same way. However, the sequence seems to fit in
well with the mood of the piece (i.e. an audio "construction site"). It
vaguely reminds me of the sequenced part in the opening few minutes of "The
4.15 Bradford Executive" on _Sand_, which has grown on me similarly over the
years.
> [...] This observation won't be that popular but I'll make it anyway: Eddie
>Van Halen uses similar rhythmic structures in his playing as well. Maybe Eddie
>actually listened to Allan at one point [...]
Why wouldn't it be popular? It's true. Eddie Van Halen is a big fan of
Allan's playing, and Eddie was the one who helped to get Allan involved with
(dare I say) Warner Brothers for the _Road Games_ project. I'm sure more info
on this is available somewhere in the Atavachron FAQ.
*Jerfo*
This is my tag line. Yay.
-------------------------------------------------------------------------------
From: Jeff Preston
Subject: Re: Eddie V.H.
Date: Wed, 15 Feb 95 16:48:58 EST
> From: jerfo@student.umass.edu
> Subject: Re: Eddie V.H.
> Just as I side note, I'd love to be able to get my hands on a copy of
> Wardenclyffe Tower +3. Any suggestions as to where I can do so?
I'd guess Sound City 2000 or CD Europe, but be prepared to pay!
Alternately, perhaps one of Atavachron's Japanese subscribers would
be willing to make a trade deal...?
> Why wouldn't it be popular? It's true. Eddie Van Halen is a big fan of
^^
> Allan's playing, and Eddie was the one who helped to get Allan involved with
> (dare I say) Warner Brothers for the _Road Games_ project.
I think that might be better written as "WAS a big fan"; as some here
who reads the Usenet guitar newsgroups might attest, one of my favorite
"trolls" is to taunt the Van Halen congregation, saying that Warner
Bros. pulled Eddie's strings and now, post-_RG_, says nothing better
than neutral about Allan. In actuality, I have nothing against Ed,
but I find his dissatisfaction with Allan's post-_RG_ material a bit
amusing... it makes for great fun on Usenet, though. I get a lot of
mileage out of that bait. :)
> I'm sure more info
> on this is available somewhere in the Atavachron FAQ.
Hmmm... there may be some mention of Van Halen's being involved in
the Warner deal (i.e., he was slated to co-produce _Road Games_), but
otherwise, I don't think so. Did you catch Allan's reaction in Chris
Hoard's interview regarding the way the Restless press release for
Allan mentioned these other guitarists? If it looked bad in print,
you should have heard it on the tape! :)
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
Date: Wed, 15 Feb 95 16:18:55 -0600
From: uchima@fncrd8.fnal.gov (Mike Uchima)
Subject: The Return (yet again) of Velvet Darkness?
The following entry has recently appeared in CD Connection's database:
JAP71652 HOLDSWORTH*ALAN VELVET DARK..
$30.03 JAPANESE IMPORT
Either Sony is trying to unload a warehouse full of these things, or... IT'S
BAAAAACK!
-- Mike Uchima
-- uchima@fnal.fnal.gov
-------------------------------------------------------------------------------
========= End of Atavachron Digest ========= I
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-------------------------------------------------------------------------------
Check out the Atavachron WWW Page!
http://suppcoo.morehead-st.edu/atav/docs/home.html
Atavachron Digest - The Allan Holdsworth Discussion Digest
Number 126
Friday, 17 February 1995
TODAY'S TOPICS:
==============
RE: Source for WT+3
Re: Eddie V.H., again
RE: CD Europe (was: Source for WT+3)
?'s
Gary Husband in Vancouver with Billy Cobham
Commerce vs Art
Re: Commerce vs Art
Re: Commerce vs Art
Re: ?'s
Re: Commerce vs Art
Buckethead? What a thought!
cd retailers
Re: Buckethead? What a thought!
Re: Buckethead? What a thought!
The Tone. Sorta long, but hey...
-------------------------------------------------------------------------------
Date: Wed, 15 Feb 95 19:42:23 -0500
From: rardin%orion.dnet@auriga (R. Lynn Rardin)
Subject: RE: Source for WT+3
>> Just as I side note, I'd love to be able to get my hands on a copy of
>> Wardenclyffe Tower +3. Any suggestions as to where I can do so?
>
> I'd guess Sound City 2000 or CD Europe, but be prepared to pay!
> Alternately, perhaps one of Atavachron's Japanese subscribers would
> be willing to make a trade deal...?
I can't speak for others, but my experience with Sound City 2000 has been
pretty miserable. In cases where they didn't come through on an order (this
happens quite freqently in my experience), I had a helluva time getting them
to refund my money. In one case, it actually took me 6 months, a lot of
long distance phone calls and several threatening letters to obtain credit on
my credit card account for items that never shipped. I've heard similar
horror stories about CD Europe.
Has your opinion of Audiophile Imports changed, Jeff? I got my copy of WT+3
through them. They're also quite pricey, but I've had no problem with them
delivering what they promised to deliver.
-Lynn
-------------------------------------------------------------------------------
Date: Wed, 15 Feb 1995 20:05:45 -0500
From: jerfo@student.umass.edu
Subject: Re: Eddie V.H., again
> I think that might be better written as "WAS a big fan"; as some here
> who reads the Usenet guitar newsgroups might attest, one of my favorite
> "trolls" is to taunt the Van Halen congregation, saying that Warner
> Bros. pulled Eddie's strings and now, post-_RG_, says nothing better
> than neutral about Allan. In actuality, I have nothing against Ed,
> but I find his dissatisfaction with Allan's post-_RG_ material a bit
> amusing... it makes for great fun on Usenet, though. I get a lot of
> mileage out of that bait. :)
A year or two ago, I'm pretty sure that I remember reading an article
(in some cheez-o guitar magazine) in which Eddie graciously sang the praises
of Mr. Holdsworth. Now that I think about it, there was a one or two page
interview with Allan in this issue as well; I'm pretty sure it was around the
time that _Secrets_ came out...hmmm, maybe it was more than one or two years
ago, eh?
Anyway (despite the inaccuracies in my reply) it's kind of interesting
to hear Allan's influence so clearly in a popular musician such as our friend
Edward.
BTW: check out Eddie's new-and-improved facial hair.
One has to wonder...if Allan went grunge and joined a "Pearl Jam-ish" type
group, how popular do you think his playing would become? It's sad to say, but
he'd probably be fabulously wealthy now if he had played Tempest-like stuff
for his entire career, though his playing now is exponentially superior.
It's a shame that someone can't be marketed for his superior musicianship
these days...
*Jerfo*
= University of Massachusetts =
- Department of Redundancy Department -
* jerfo@student.umass.edu *
-------------------------------------------------------------------------------
Date: Thu, 16 Feb 95 09:17:22 -0600
From: uchima@fncrd8.fnal.gov (Mike Uchima)
Subject: RE: CD Europe (was: Source for WT+3)
rardin%orion.dnet@auriga (R. Lynn Rardin) wrote:
>
> [Sound City 2000 horror stories deleted]
>
> I've heard similar horror stories about CD Europe.
I saw someone post something on Usenet recently, to the effect that CDE has
changed their policy regarding credit card charges -- they no longer charge
your card up front. I have *not* confirmed this, however.
-- Mike Uchima
-- uchima@fnal.fnal.gov
-------------------------------------------------------------------------------
Date: Thu, 16 Feb 1995 11:42:38 -0600
From: Glenn Astarita
Subject: ?'s
Hello,
While being a newcomer to this digest, I need to ask a few questions or state
some things.
I see some references to AH not being recognized or getting his due from
others,(musicians,listeners). Also, what happened to his synthaxe ? Why does
he need donations ? I would think that MR H should be pulling in a decent
income. How expensive is this gear ? Just curious..
Now back in New York, AH seemed to be quite well known over the years. I mean
I used to hang with musicians, enthusiasts who never collected or played this
genre of music specifically. Also, when he played in town it seemed that
tickets were hard to come by. All kinds would see him perform whether based on
reputation, word of mouth or his true fans. Sort of like a serious rock
guitarist going to see Segovia perform at Lincoln Center to be blown away by a
master technician. Does anyone really expect him to sell a 1/2 million records
?
Just gettin my feet wet-------Glenn
-------------------------------------------------------------------------------
From: Michael Young
Subject: Gary Husband in Vancouver with Billy Cobham
Date: Thu, 16 Feb 95 11:12:00 PST
This isn't strictly about AH, but... GH was in town last night, playing
keyboards and drums with BC's latest group. The other band members were Kai
Eckhardt on fretless and fretted bass, Peter Wolpl on guitar and, of course,
BC himself pounding away on a monstrous drum kit. Most of the tunes were
from BC's latest 2 or 3 albums, which I haven't heard, and they were IMHO
just cookie-cutter power fusion.
Back to GH. He did a very respectable job on the keyboards, and treated us
to a smoking (and all-too-short) drum solo. The group played one GH-penned
tune, the opening track of AH's "Secrets", but they turned it into an almost
unrecognisable mess. I realised how much the power of the original version
of that tune relies on AH's searing solo... PW did a very good job on
guitar - his style reminded me a bit of Michel Cusson and Jean Marie Ecay.
That's all for now!
--
Michael Young (michaely@paradigm.bc.ca)
-------------------------------------------------------------------------------
Date: Thu, 16 Feb 95 11:00:26 PST
From: "Chris Manuel"
Subject: Commerce vs Art
Jerfo (interesting name :-) writes:
>One has to wonder...if Allan went grunge and joined a "Pearl Jam-ish" type
>group, how popular do you think his playing would become? It's sad to say, but
>he'd probably be fabulously wealthy now if he had played Tempest-like stuff
>for his entire career, though his playing now is exponentially superior.
> It's a shame that someone can't be marketed for his superior
>musicianship these days...
This is probably going to sound like splitting hairs but I've got to comment.
The problem isn't that record companies can't market musicianship it's that
there isn't a market for musicianship. The vast majority of music consumers
are in their teens and wear music like fashion. When those rap kids started
wearing their pants backwards, a bold fashion statement if ever there was one,
I figured that the end of music as we know it had arrived.
The truth of the matter is that most musicians who pursue a more intellectual
muse have to make ends meet through teaching and other extra-musical pursuits.
It's unlikely that this will ever change. Look at the heavy subsidization of
the classical world. Intellectually based music does not reach the people (the
teens) who buy the most music.They want music that sounds like sex.
The mass media reflects the lowest common denominator of cultural taste so
don't expect Allan Holdsworth to be driving a new Lamborghini (like our newly
bearded friend: Ed) unless he sticks to backing an attractive young faux-disco
singer ( either male of female, just so I'm not perceived as being sexist :-)
).
Later.
Chris Manuel
BC Systems Corporation
V: 604.389.3503 F:360.7285
CPMANUEL@BCSC02.GOV.BC.CA
-------------------------------------------------------------------------------
Date: Thu, 16 Feb 95 15:22:42 -0600
From: uchima@fncrd8.fnal.gov (Mike Uchima)
Subject: Re: Commerce vs Art
"Chris Manuel" wrote:
> The mass media reflects the lowest common denominator of cultural taste so
> don't expect Allan Holdsworth to be driving a new Lamborghini (like our newly
> bearded friend: Ed) unless he sticks to backing an attractive young faux-disco
> singer ( either male of female, just so I'm not perceived as being sexist :-)
> ).
So Sammy Hagar is an "attractive young faux-disco singer"??? :)
-- Mike Uchima
-- uchima@fnal.fnal.gov
-------------------------------------------------------------------------------
Date: Thu, 16 Feb 95 14:12:01 PST
From: "Chris Manuel"
Subject: Re: Commerce vs Art
*** Reply to note of 02/16/95 13:41
Mike Uchima responds to my earlier post:
>So Sammy Hagar is an "attractive young faux-disco singer"??? :)
Hey, you never know, I might be a ninety-year-old curmudgeon who sees Sammy
Hagar as an attractive young faux-disco singer ;-)
But seriously folks, does anyone remember seeing Eddie Van Halen guest on
Saturday Night Live? The guy burned the house down! He was playing with the
house band and played lines and note choices I can guarantee you'll never hear
him play in a stadium. My point is that if you are trueto a more intellectual
art form you're not going to drive a Lambo, unless you've got a rich spouse.
I think Van Halen walks a fine line between making interesting music and
pandering to the kids. (Hot For Teacher <> Metal Fatigue!)
More grist for the thought mill.
Chris Manuel
BC Systems Corporation
V: 604.389.3503 F:360.7285
CPMANUEL@BCSC02.GOV.BC.CA
-------------------------------------------------------------------------------
From: pvallado@waynesworld.UCSD.EDU (Paolo Valladolid)
Subject: Re: ?'s
Date: Thu, 16 Feb 1995 15:14:29 -0800 (PST)
> I see some references to AH not being recognized or getting his due from
> others,(musicians,listeners). Also, what happened to his synthaxe ? Why does
It was stolen.
> he need donations ? I would think that MR H should be pulling in a decent
Someone came up with the idea to collect donations for him. He didn't
ask for it, though. He's not exactly in the poorhouse as far as I know.
I strongly advise you check out the Atavachron Web Page and/or
get a copy of the FAQ.
> master technician. Does anyone really expect him to sell a 1/2 million records
> ?
It'd be good for him...
--
Paolo Valladolid
-----------------------------------------------------------------
|Moderator of Digital Guitar Digest, an Internet mailing list |\
|for Music Technology and Stringed Instruments | \
----------------------------------------------------------------- |
\ finger pvallado@waynesworld.ucsd.edu for more info \ |
\ http://waynesworld.ucsd.edu/DigitalGuitar/home.html \|
-----------------------------------------------------------------
-------------------------------------------------------------------------------
From: pvallado@waynesworld.UCSD.EDU (Paolo Valladolid)
Subject: Re: Commerce vs Art
Date: Thu, 16 Feb 1995 17:08:35 -0800 (PST)
> The truth of the matter is that most musicians who pursue a more intellectual
> muse have to make ends meet through teaching and other extra-musical pursuits.
> It's unlikely that this will ever change. Look at the heavy subsidization of
> the classical world. Intellectually based music does not reach the people (the
> teens) who buy the most music.They want music that sounds like sex.
>
> The mass media reflects the lowest common denominator of cultural taste so
> don't expect Allan Holdsworth to be driving a new Lamborghini (like our newly
> bearded friend: Ed) unless he sticks to backing an attractive young faux-disco
> singer ( either male of female, just so I'm not perceived as being sexist :-)
> ).
I wonder how someone like Bill Laswell continues to do what he
does and make a living off of it. Maybe it's because he's involved
in so many projects; making a bit of change off of one project
and a bit of change off another so that when it all adds up he's made
a decent living. Laswell's star guitarist Buckethead sounds
very much like a young Allan Holdsworth. I think Allan's style
would fit in very well with something like Praxis or Material.
--
Paolo Valladolid
-----------------------------------------------------------------
|Moderator of Digital Guitar Digest, an Internet mailing list |\
|for Music Technology and Stringed Instruments | \
----------------------------------------------------------------- |
\ finger pvallado@waynesworld.ucsd.edu for more info \ |
\ http://waynesworld.ucsd.edu/DigitalGuitar/home.html \|
-----------------------------------------------------------------
-------------------------------------------------------------------------------
Date: Thu, 16 Feb 1995 21:45:25 -0500 (EST)
From: Jeff Preston
Subject: Buckethead? What a thought!
On Thu, 16 Feb 1995, Paolo Valladolid wrote:
> Subject: Re: Commerce vs Art
> I wonder how someone like Bill Laswell continues to do what he
> does and make a living off of it. Maybe it's because he's involved
> in so many projects; making a bit of change off of one project
> and a bit of change off another so that when it all adds up he's made
> a decent living. Laswell's star guitarist Buckethead sounds
> very much like a young Allan Holdsworth. I think Allan's style
> would fit in very well with something like Praxis or Material.
?!?!!!
Wow, that's a thought. Quick -- call Laswell! :)
I honestly can't see Allan playing atop that type of groove-intensive
music, but I have to agree it would be fantastic (I am very much into
Praxis and Material, in case y'all were wondering... I see a lot of
exploration happening with Laswell's work, yet it is anchored firmly
enough in the familiar as to not be as "threatening" as some avant-
garde musics can be).
I don't know that I agree with the "Buckethead sounds like young
Holdsworth" statement, though. To me, he sounds more like Steve Vai
without fear of imperfection. Buckethead is obviously into wrangling
outrageous sounds from the instrument, too -- something Allan seems
to have always shunned (unless you count the vibrato usage as
"outrageous"). To me, young Allan sounded a lot like a smooth Zappa,
IMO... and after hearing Tempest's _Living In Fear_, I am lead to
believe that Ollie Halsell was somewhat of an influence, perhaps.
I bet Peter Stoller will set me straight on this one. :)
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
From: Udo Merkel
Date: Fri, 17 Feb 1995 17:26:28 +0100
Subject: cd retailers
There has variously been mention of cd online services on this list,
cdnow, cdeurope, cdconnection, sound city 2000 ... Which of these
could you recommend to a europe based individual? cdnow certainly not,
the charges being moderate for shipment within North America only.
cdeurope is pricey, on the grounds that it has to import the material
(from europe) to the states; but it wouldn't seem they had a different
pricing level for other sites, be these closer or more distant. How
about the other services? As to sound city 2000, i wasn't even able
to locate their web page with the CUSI search engine.
My apologies that my reqest is rather unrelated to the list's topic.
Udo
merkel@informatik.uni-stuttgart.de
-------------------------------------------------------------------------------
From: pvallado@waynesworld.UCSD.EDU (Paolo Valladolid)
Subject: Re: Buckethead? What a thought!
Date: Fri, 17 Feb 1995 09:48:28 -0800 (PST)
> I honestly can't see Allan playing atop that type of groove-intensive
> music, but I have to agree it would be fantastic (I am very much into
> Praxis and Material, in case y'all were wondering... I see a lot of
> exploration happening with Laswell's work, yet it is anchored firmly
> enough in the familiar as to not be as "threatening" as some avant-
> garde musics can be).
I suppose if Buckethead's death-dealing slasher guitar can be made
to fit with Laswell's funk,dub, and thrash grooves, why not Allan?
If Wayne Shorter can improvise hot solos with Material, why not
Allan?
> I don't know that I agree with the "Buckethead sounds like young
> Holdsworth" statement, though. To me, he sounds more like Steve Vai
> without fear of imperfection. Buckethead is obviously into wrangling
> outrageous sounds from the instrument, too -- something Allan seems
> to have always shunned (unless you count the vibrato usage as
> "outrageous"). To me, young Allan sounded a lot like a smooth Zappa,
> IMO... and after hearing Tempest's _Living In Fear_, I am lead to
> believe that Ollie Halsell was somewhat of an influence, perhaps.
> I bet Peter Stoller will set me straight on this one. :)
Joe Satriani (Vai's former teacher) once posted the question:
"Where would we be without Holdsworth?" He made the observation
that most of heavy metal sounds like "badly done Holdsworth".
Judging from what I heard with Tony Williams and Jean Luc Ponty,
Allan was more outrageous in his younger days (he used feedback
a lot more too). Holdsworth pioneered approaches to the guitar
that would be widely copied by metalists almost a decade later.
One thing about Buckethead that reminds me of Holdsworth is that
he uses a lot of wide intervals. Another thing is a similar
sense of urgency in his solos. Unlike Vai, who uses flash for
the sake of flash, Buckethead uses flashy techniques in an
impressionistic fashion to evoke the feel of riding a roller
coaster or Godzilla stomping through a hapless city.
--
Paolo Valladolid
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-------------------------------------------------------------------------------
Date: Fri, 17 Feb 95 10:16:56 PST
From: "Chris Manuel"
Subject: Re: Buckethead? What a thought!
*** Reply to note of 02/17/95 09:59
Paolo writes:
"Unlike Vai, who uses flash for the sake of flash, Buckethead uses flashy
techniques in an impressionistic fashion to evoke the feel of riding a
roller coaster or Godzilla stomping through a hapless city."
Buckethead? I've seen the name and read an abbreviated interview. The guy
sounds like an original.
Is there a record of the guy that an old fart might enjoy? Maybe one of
Laswell's projects?
By the way, I posted a request on mix hints for laying in crunchy Boogie parts
awhile ago and got some good responses. It turns out that I was tracking with
the presence control cranked up on the Boogie which is great for clean rhythm
guitar and chunky rhythm but makes for a really brittle lead sound. I'm trying
to figure out how I spent half a day tracking without noticing that my amp
sound like breaking glass. _DUH!_Maybe an ear check?
I've always been really ambivalent about Steve Vai. He obviously controls his
instrument but I wonder about the person. I saw him at the Commodore in
Vancouver with his latest band. Either he thinks he's an important rock star
or he thinks that people wanted to see an important rock star. I went thinking
I might see him loosen up in the live setting. Unfortunately I didn't get much
out of the show.
Later.
Chris Manuel
BC Systems Corporation
V: 604.389.3503 F:360.7285
CPMANUEL@BCSC02.GOV.BC.CA
-------------------------------------------------------------------------------
From: lakes!chip@galois.nscf.org (Chip McDonald)
Subject: The Tone. Sorta long, but hey...
Date: Fri, 17 Feb 1995 12:02:53
(In reference to recent discourse pertaining to said subject)
He doesn't have anything in his lead tone above 10k, maybe even
lower. I remember thinking this the first time I heard him live (from
about 30 feet in front of his cab). The reason I noticed this is that I
don't like the fizzy stuff up there, either.
This is interesting, because no one has ever really discussed the
"philosophical" ramifications of what a player considers a "good" tone.
It never fails to amaze me what people describe as "warm" (a red-knob
Fender twin on 10 with the treble knob wide open? Yikes) or some such.
I've heard Eric Johnson's lead tone in person a number of times,
right in front of me, and he has nothing above about 8k.
I think (or at least, this is why *I* don't have stuff happening
up there) that for a _lead_ sound, the harmonic information up there
is so un-pitched that it's just a constant noise in most cases. It doesn't
contribute anything to the definition of the note.
I've also done some "testing" and have found hardly anybody has
anything on a recording with a presence above about 8k. Rhythm is a different
story, but most "bright" sounds I've found to be an auditory illusion of
a bright room or ambient sound. The harmonic balance makes it sound brighter
or duller, but the content in the upper end is an illusion as far as I can
tell. They may have something up there coming out of their amp, but it
doesn't usually make it to the recording. Particularly in this day and age
of precise frequency slotted mixes.
I think the most important aspect of Holdsworth's tone is that it
is made up of a number of frequency peaks evenly divided across the
spectrum that as a whole sound balanced - when the note is dying out, but
on the attack you get that distinctive Holdsworthian "bloom" at a certain
frequency depending on what the note is. Which ends up sounding similiar to
the envelope of a saxophone.
Which is very different, no one has had such a guitar sound until
he did it as far as I know. I'm sure he *doesn't* want to hear a percussive
attack in the midst of a legato run, but something like a violin or saxophone.
Or maybe that's me? Hmm.
You gain so much by having the "bloom" affect, anyhow. To me, the attack of
the note is still happening 10 ms after the note is struck, not just the
initial half-cycle.
Oh well, I love his sound and I hope he doesn't turn the treble
knob up.
--
_______________________________________________________________________
"Everything is important, and nothing is as important as everything"
/ \__/ _>
/ / "I too, have been ripped off by Atlanta Rhythm City"
| / | | ]]]] ] ] ] ] ]Chip McDonald / chip@lakes.trenton.sc.us [
_______________________________________________________________________
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Atavachron Digest - The Allan Holdsworth Discussion Digest
Number 127
Tuesday, 21 February 1995
TODAY'S TOPICS:
==============
Re: Buckethead? What a thought!
(none)
Re: Atavachron Digest Number 126
Holdsworth and Laswell? Nah, pass
Brewer's Gories and Nightmares
Re: Holdsworth and Laswell? Nah, pass
Re: Holdsworth and Laswell? Nah, pass
Re: Atavachron Digest Number 126
Could you use some news?
Re: Gongzilla
Re: Could you use some news?
-------------------------------------------------------------------------------
From: pvallado@waynesworld.UCSD.EDU (Paolo Valladolid)
Subject: Re: Buckethead? What a thought!
Date: Fri, 17 Feb 1995 11:52:57 -0800 (PST)
> Buckethead? I've seen the name and read an abbreviated interview. The guy
> sounds like an original.
>
> Is there a record of the guy that an old fart might enjoy? Maybe one of
> Laswell's projects?
As far as I know, practically everything Buckethead has recorded so
far has been in a Bill Laswell production, with the exception of a
pair of solo releases on John Zorn's Avant label. Any of the Praxis
albums would be a good intro to Buckethead. For more information,
check out the Axiom (label) Home Page at
http://www.hyperreal.com/music/labels/axiom/axiom.html
The page may still be under construction in some areas because the
two Praxis releases on the Subharmonic/Strata labels (also run by
Laswell) are not mentioned.
> By the way, I posted a request on mix hints for laying in crunchy Boogie parts
> awhile ago and got some good responses. It turns out that I was tracking with
> the presence control cranked up on the Boogie which is great for clean rhythm
> guitar and chunky rhythm but makes for a really brittle lead sound. I'm trying
> to figure out how I spent half a day tracking without noticing that my amp
> sound like breaking glass. _DUH!_Maybe an ear check?
This is why Allan advocates using two separate amps; one for clean
and the other for lead. He wasn't happy with optimizing amp settings
for a good clean tone, then switching to a distorted tone that
sounded unsatisfactory because those same settings that worked for clean
sounds didn't work (for him) for distorted ones. At the Guitars West
clinic, he played through what looked like a pair of Blue Angels for
the clean sounds and a Dual Rectifier or Tremoverb head for leads.
> I've always been really ambivalent about Steve Vai. He obviously controls his
> instrument but I wonder about the person. I saw him at the Commodore in
> Vancouver with his latest band. Either he thinks he's an important rock star
> or he thinks that people wanted to see an important rock star. I went thinking
> I might see him loosen up in the live setting. Unfortunately I didn't get much
> out of the show.
Vai is very much into marketing himself in an image-conscious way.
Buckethead has been accused of using the bucket/mask as an
attention grabbing gimmick but I see it as his way of keeping his
private and public personas separate. Just like Robert Fripp has spent
years developing an elaborate public persona. What I respect about
Buckethead is that he has remained outside the mainstrem despite his
growing fame and the sure temptation of the $$$ that awaits him should
he ever decide to join Whitesnake/Poison/etc.
Rambling back to Holdsworth; he doesn't seem to have the private/public
personality conflict problem.
--
Paolo Valladolid
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|for Music Technology and Stringed Instruments | \
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-------------------------------------------------------------------------------
Date: Fri, 17 Feb 1995 14:29:59 -0600
From: Glenn Astarita
"Laswell's star guitarist Buckethead sounds
very much like a young Allan Holdsworth. I think Allan's style
would fit in very well with something like Praxis or Material."
Excerpt from latest digest: I don't even see a remote resemblance between
these two. I am an ardent Laswell/Buckethead fan..I'm not denying that AH
could come to terms musically with Laswell in some distinct way..However, I
could think of other guitarists that sound more like a young AH, ex: Scott
Henderson, Bill Connors..Brett Garsed. Buckethead reminds me more of a
slashing- Vernon Reid, Yngwie Malmsteen or perhaps the speed of lets say a
John Mclaughlin. I don't hear a trace of legato in Bucketheads playing or the
trademark "angularity"and sustain of Holdsworth.
Now I'm not denying Buckethead anything, I think he has phenomenal chops and
will only improve. He also plays a mean acoustic..Check out "Octave of the
Holy Innocents" by Jonas Hellborg with Buckethead and Michael Schrieve...
Glenn
-------------------------------------------------------------------------------
Date: Fri, 17 Feb 1995 16:05:03 -0500
From: AFCPeterS@aol.com
Subject: Re: Atavachron Digest Number 126
> Date: Thu, 16 Feb 1995 21:45:25 -0500 (EST)
> From: Jeff Preston
> Subject: Buckethead? What a thought!
>
> To me, young Allan sounded a lot like a smooth Zappa, IMO...
> and after hearing Tempest's _Living In Fear_, I am lead to
> believe that Ollie Halsell was somewhat of an influence,
> perhaps. I bet Peter Stoller will set me straight on this
> one. :)
Would that I could, but I've never even listened to LiF. Halsall could have
been an influence, but I think Allan would be a better source for that info.
:) I was under the impression that AH didn't listen much to guitarists for
influence - he was into sax players. Also, I heard Tempest as being primarily
influenced by the likes of Hendrix and Cream, but with a jazzier guitar
player and drummer; I think that's what Hiseman was shooting for, anyway.
Peter Stoller
-------------------------------------------------------------------------------
From: Steve_Monroe@stortek.com
Subject: Holdsworth and Laswell? Nah, pass
Date: Fri, 17 Feb 95 23:19:23 MST
=>
=> I honestly can't see Allan playing atop that type of groove-intensive
=> music, but I have to agree it would be fantastic (I am very much into
=> Praxis and Material, in case y'all were wondering... I see a lot of
=> exploration happening with Laswell's work, yet it is anchored firmly
=> enough in the familiar as to not be as "threatening" as some avant-
=> garde musics can be).
=>
Nah, that groove intensive stuff that Laswell promulgates
has all the sophistication of third century computing
machinery. I recently bought Metatron, and, although
Buckethead does have technical facility to spare, the
guy is completely void of any musical aesthetics whatsoever.
I really don't think that Allan's advanced harmonic
sensibilities would really map that well onto Laswell's
pre-neanderthal concepts of music.
That, plus the fact that Allan's music has melodies, and
and melodies within melodies; Laswell/Buckethead is just
a bunch of brain dead flailing.
I'm not implying that purely rhythmic music is void of
sophistication. All of the music I have heard from Bali,
Africa, and India is extremely sophisticated, and is
completley melody or harmony free. The salient feature
of it is that there is an improvisational sophistication
within a given framework (e.g. tala, kotekans, etc...).
Nah, pass...
--
Steven J. Monroe phone: 303.673.4938
email: Steve_Monroe@stortek.com
--
Steven J. Monroe phone: 303.673.4938
email: Steve_Monroe@stortek.com
-------------------------------------------------------------------------------
Date: Sat, 18 Feb 1995 16:57:31 -0800
From: edumark@ix.netcom.com (chris hoard)
Subject: Brewer's Gories and Nightmares
[ Moderator's note: reformatted to <80 chars/line. --JP ]
Minor tradegies of sorts...
I spoke at length with a certain professor of Grainular Agrono-Hydrology today.
Synching three ADATS has set him spinning in a wretched torrent of mysery.
Bits of solos get erased with the latest set of software, and Alesis
apparently seems oblivious to the fact that they employed a well known
musician as Lead Alpha Tester. He's had to go three or four releases back
to see if he can get machines talking to eachother. He storms into the
habitat-dome with bloodshot eyes cursing and frothing.
Nevertheless the assessment of his latest project is exceedingly positive.
This is the swinging demon groove about to be unleashed on stuffy jazz
parlours. A piercing gleam of "spangalang" and blast of fresh air.
ON VELVET DARKNESS
The story here as I've heard it, was that Velvet Darkness, as released was
essentially a rehearsal tape. Creed Taylor and company thought the band
rehearsals were so smoking they ran the tape, and then told Mr. H--"thankyou
very much, that's enough," when the artist in question--was just rolling up
his sleaves with Narada Michael Walden and Alphonso Johnson (both members of
pre-eminant, now legendary fusion rhythm sections) to start work on basic
tracks.
We know the rehearsals were smoking. The whole venture was misrepresented
to the artist by the producer, however. Control and studio time promised
the artist were suddenly rescinded. To add insult to injury, thousands of
records were sold hailing an artist's "solo debut," and not a single royalty
was ever paid on a shoe-string budget project. Not until the CD had been
released a decade later --not until years after that--did the artist ever
receive a penny, and as is the case so often in this country, not until
legal action was threatenned. It was not the album AH envisioned as his
debut--instead it was a heartache, a painful scam that AH would have removed
from every retail outlet, knowing the kind of record he could have made with
that band. Not to say it's without it's moments. Listen to IOU, however.
Another album made under duress--but much more of a statement in the
context of its time.
****
There is a rumour a major ale-studies center is about to be launched
somewhere in North San Diego County. It will feature the serving of the
finest, fresh American Micro-Brews. Perhaps some day they will also serve
something very close to a fresh Yorkshire bitter. I myself am trying to
ascertain possibilities as far as a sound stage is concerned. My source
says there will be "sixteen wickets" (might that be an English hand-pump?).
I envision an centre of learning, great guitar performances with guest
rhythm sections jamming, a haven for retstrained and civil drunkeness...
When I can substantiate the rumour, details will be forthcoming. Maybe the
best form of support we could offer AH, would be to plan an "Atavachron Week"
vacation in San Diego--where nightly bashes would be held at this (yet
non-existing) ale/music hall.
****
The Harness--I haven't quite figured out what it is--suffice to say it's
a sort of next generation "juice extractor" that I believe sits between
the speaker output of a tube amp and the mixing board.
The news is an add will be coming out on it in the next issue of Guitar
Player, so keep yer eyes open. A limited production run is planned for
March/April. I forgot to ask for pricing--but maybe Jeff can post it. AH
told me he's now accepting orders--I'll certainly have the details in a week
or so, unless Jeff can post earlier.
--CH
-------------------------------------------------------------------------------
Date: Sat, 18 Feb 95 23:07:52 EST
From: "With The Bird in my ears, and boats in my eyes.."
Subject: Re: Holdsworth and Laswell? Nah, pass
Hrm.....This might be a case of generalizing too swiftly from too small
a sample. Laswell and Co. have demonstrated a melodic and rhythmic
sensibility that outstrips "brain-dead flailing" by quite a bit. And
Buckethead's contributions aside, Wayne Shorter has amply demonstrated
that first-rate improvisation can take place withing the context of
a Laswell project. Seems to me that A.H. could have a great deal of
fun with Laswell given the opprotunity, either blowing over the groove
as defined or by doing what Jazz improvisors have been doing all along,
blowing over substitutions that enrich without destroying the
original chart. Course, given my love of Allan's music, I would pay to
hear him in any context that facilitates interplay with other gifted
musicians. I always kinda thought that to be a hallmark of the Jazz
idiom anyway. Or so it seems to me.
Dan Ginsberg
dginsber@uconnvm.uconn.edu
-------------------------------------------------------------------------------
Date: Sun, 19 Feb 1995 19:11:48 -0500 (EST)
From: Jeff Preston
Subject: Re: Holdsworth and Laswell? Nah, pass
> From: With The Bird in my ears, and boats in my eyes..
> Subject: Re: Holdsworth and Laswell? Nah, pass
> Hrm.....This might be a case of generalizing too swiftly from too small
> a sample. Laswell and Co. have demonstrated a melodic and rhythmic
> sensibility that outstrips "brain-dead flailing" by quite a bit.
Agreed.
> And
> Buckethead's contributions aside, Wayne Shorter has amply demonstrated
> that first-rate improvisation can take place withing the context of
> a Laswell project. Seems to me that A.H. could have a great deal of
> fun with Laswell given the opprotunity, either blowing over the groove
> as defined or by doing what Jazz improvisors have been doing all along,
> blowing over substitutions that enrich without destroying the
> original chart. Course, given my love of Allan's music, I would pay to
> hear him in any context that facilitates interplay with other gifted
> musicians. I always kinda thought that to be a hallmark of the Jazz
> idiom anyway. Or so it seems to me.
Great insights, Dan... that is one thing I like about Allan: He seems
able to bring something to a variety of projects. Hearing him play pop
(Level 42) and "radio metal" (Jeff Watson) was a real treat. It worked
in those two instances, certainly. I'm not sure how he'd sound on a
Reba McIntyre track, but now that I've thought about it, he wouldn't be
at all misplaced on a Material/Praxis CD.
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
Date: Sun, 19 Feb 1995 19:17:28 -0500 (EST)
From: Jeff Preston
Subject: Re: Atavachron Digest Number 126
> From: rardin%orion.dnet@auriga (R. Lynn Rardin)
> Subject: RE: Source for WT+3
> Has your opinion of Audiophile Imports changed, Jeff? I got my copy of WT+3
> through them. They're also quite pricey, but I've had no problem with them
> delivering what they promised to deliver.
I was initially suspicious of them after having a conversation with
one of the co-owners regarding _Road Games_, but I have no reason to
believe they are anything but above-board. I have had no dealings
with them, though... no CD orders, etc.
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
Date: Mon, 20 Feb 1995 21:39:31 -0500 (EST)
From: Jeff Preston
Subject: Could you use some news?
I spoke with Claire this evening, and as Chris had mentioned, she
said that Allan had placed an advertisement in an upcoming Guitar
Player magazine for The Harness. Allan intends to sell these for
$399 each, and can take orders now. Seeing as how I lost the original
fax which Claire sent describing The Harness, I can't give any details
at present; she is re-sending the fax tonight, though, so I should be
able to report back in the next day or so.
Also... tour plans are underway. Allan has a new booking agent, and
there are TENATIVE plans to visit Tokyo during Golden Week (hello,
Takaaki Higuchi!), Australia, the U.S. west coast, Canada (several
more dates than usual, btw), and finally, the eastern U.S.; keep
watching here for details. As always, Claire wanted me to emphasize
that these plans may change, so nothing is finalized as of now!
Stay tuned.
Another aside, Re: Gongzilla's _Suffer_: I received e-mail from Bon
Lozaga today indicating that there had been a manufacturing delay in
the delivery of the CDs, so those of you who may have tried ordering
from CD Connection and got an "unavailable" answer may want to try
re-ordering in 3-4 weeks.
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
Date: Mon, 20 Feb 1995 22:23:29 -0500
From: jerfo@student.umass.edu
Subject: Re: Gongzilla
> Another aside, Re: Gongzilla's _Suffer_: I received e-mail from Bon
> Lozaga today indicating that there had been a manufacturing delay in
> the delivery of the CDs, so those of you who may have tried ordering
> from CD Connection and got an "unavailable" answer may want to try
> re-ordering in 3-4 weeks.
I was wondering why _Suffer_ had yet to grace any of my local music
stores' shelves...
BTW: Do you (or anyone else, for that matter) know who the musicians are
supposed to be on _Suffer_? I've been curious about this one for a while
now.
*Jerfo*
- Tag Line, I'm it. -
-------------------------------------------------------------------------------
From: "Allan Blackman"
Date: Wed, 22 Feb 1995 08:32:31 GMT+1200
Subject: Re: Could you use some news?
> Also... tour plans are underway. Allan has a new booking agent, and
> there are TENATIVE plans to visit Tokyo during Golden Week (hello,
> Takaaki Higuchi!), Australia, the U.S. west coast, Canada (several
*********
> more dates than usual, btw), and finally, the eastern U.S.; keep
Please PLEASE could someone implore him to make the short hop across the
Tasman and visit New Zealand - hell, we make MUCH better ales than the
Aussies....
Cheers
Allan
**********************************************************************
Allan Blackman, Department of Chemistry, University of Otago, Dunedin,
New Zealand. e-mail blackman@alkali.otago.ac.nz
Marge on innocence/guilt "..as my uncle used to say, shoot them all
and let God decide...."
**********************************************************************
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========= End of Atavachron Digest ========= I
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Atavachron Digest - The Allan Holdsworth Discussion Digest
Number 128
Sunday, 26 February 1995
TODAY'S TOPICS:
==============
Introduction, Holdsworth with Level 42, Husband
Re: Holdsworth and Laswell? Nah, pass
Re: Introduction, Holdsworth with Level 42, Husband
Tempest question
Re: Tempest question
Re: Atavachron Digest Number 127
Atavachron Digest Number 127
Re: Tempest question
Re: Atavachron Digest Number 127
_Suffer_ baby, _Suffer_!
Re: _Suffer_ baby, _Suffer_!
You shan't _Suffer_ long
Atavachron: A fountain of AH information!
-------------------------------------------------------------------------------
Date: Wed, 22 Feb 1995 01:30:37 -0800 (PST)
From: John Edward Martin Shuford
Subject: Introduction, Holdsworth with Level 42, Husband
I'm new to the list, so an introduction is probably in order. I first
heard Allan, in the context of his time with Level 42,> few years ago
(although I knew of him before that). I'd be curious to hear what any
of the people here think of Allan's work with Level 42 (and how that
time with Level 42 seemed to "fit" or "not fit" him). I have heard him
with L42 both in context of recorded album and live performance and he
did some dazzling things, as per usual. Songs like A Kinder Eye and If
You Were Mine (which was written by Gary Husband) are stunning for their
guitar work. However, if you have never heard L42's work, this was not
their best effort.
Gary Husband: Does anyone know when his solo album is coming out? I
really haven't heard much about Gary since he left L42, so I don't know
who he is working with and what the "focus" of the album is. Is Allan
touring the US anytime soon, and will Gary be with him?
-------------------------------------------------------------------------------
From: Steve_Monroe@stortek.com
Subject: Re: Holdsworth and Laswell? Nah, pass
Date: Wed, 22 Feb 95 8:36:47 MST
Hrm.....This might be a case of generalizing too swiftly from too small
a sample. Laswell and Co. have demonstrated a melodic and rhythmic
sensibility that outstrips "brain-dead flailing" by quite a bit. And
..and upon which disc would I find a demonstration of that?
Given that Metatron sucked so bad (IMO), I'm not particularly
willing to spend much more $ on the Buckethead/Laswell team.
I am however, willing to give it ONE more try.
Buckethead's contributions aside, Wayne Shorter has amply demonstrated
that first-rate improvisation can take place withing the context of
a Laswell project. Seems to me that A.H. could have a great deal of
fun with Laswell given the opprotunity, either blowing over the groove
as defined or by doing what Jazz improvisors have been doing all along,
Erm, well, Wayne Shorter could make a bunch of geezers
beating on washboards for backup sound like first-rate improvisation.
The guy is an ace. I wouldn't use Wayne as your metric.
As far as Mr Bucket is concerned, well, I'd really like to
hear something substantive. I have an open mind: tell me
what to get. SO FAR, I think he is a pretty ordinary shredder
along the lines of ANY of those Shrapnel Records guys. I hear no
difference (so far).
blowing over substitutions that enrich without destroying the
original chart. Course, given my love of Allan's music, I would pay to
hear him in any context that facilitates interplay with other gifted
musicians. I always kinda thought that to be a hallmark of the Jazz
idiom anyway. Or so it seems to me.
And so it is (a hallmark). I just don't (so far) consider Laswell et.al.
to be "gifted musicians" (yet, but I'd seriously enjoy having my mind
changed).
sjm
--
Steven J. Monroe phone: 303.673.4938
email: Steve_Monroe@stortek.com
-------------------------------------------------------------------------------
From: pvallado@waynesworld.UCSD.EDU (Paolo Valladolid)
Subject: Re: Introduction, Holdsworth with Level 42, Husband
Date: Wed, 22 Feb 1995 13:33:04 -0800 (PST)
> I'm new to the list, so an introduction is probably in order. I first
> heard Allan, in the context of his time with Level 42,> few years ago
> (although I knew of him before that). I'd be curious to hear what any
> of the people here think of Allan's work with Level 42 (and how that
> time with Level 42 seemed to "fit" or "not fit" him). I have heard him
> with L42 both in context of recorded album and live performance and he
> did some dazzling things, as per usual. Songs like A Kinder Eye and If
> You Were Mine (which was written by Gary Husband) are stunning for their
> guitar work. However, if you have never heard L42's work, this was not
> their best effort.
My first exposure to Allan was the _Atavachron_ album, so when
I picked up Level 42's album, I was initially disappointed. See,
I was coming from exposure to intense fusion blowing to something
comparatively more orderly and predictable. After second and third
listenings however, it grew on me. My final impression is that
Allan did a fantastic job with Level 42. He even surprised me
with that Clapton-esque bluesy solo on "She Can't Help Herself".
It was weird hearing Husband play the drums insuch a straightforward
fashion; given his propensity for time-shifting on Allan's own
albums.
--
Paolo Valladolid
-----------------------------------------------------------------
|Moderator of Digital Guitar Digest, an Internet mailing list |\
|for Music Technology and Stringed Instruments | \
----------------------------------------------------------------- |
\ finger pvallado@waynesworld.ucsd.edu for more info \ |
\ http://waynesworld.ucsd.edu/DigitalGuitar/home.html \|
-----------------------------------------------------------------
-------------------------------------------------------------------------------
Date: Wed, 22 Feb 95 17:27:10 -0600
From: uchima@fncrd8.fnal.gov (Mike Uchima)
Subject: Tempest question
Apparently, there are two Tempest CDs with Allan available -- _Tempest_ (on
One Way records), and _Living In Fear_ (on Castle). I've seen both mentioned
here. Someone claimed that the One Way release was actually a 2-for-1 type of
deal; if so, then what's on it? Is it _Living In Fear_ plus something else?
Or something different entirely?
I'm sooo confused...
-- Mike Uchima
-- uchima@fnal.fnal.gov
-------------------------------------------------------------------------------
Date: Wed, 22 Feb 1995 18:51:59 -0500 (EST)
From: Jeff Preston
Subject: Re: Tempest question
> From: Mike Uchima
> Subject: Tempest question
> Apparently, there are two Tempest CDs with Allan available -- _Tempest_ (on
> One Way records), and _Living In Fear_ (on Castle). I've seen both mentioned
> here. Someone claimed that the One Way release was actually a 2-for-1 type of
> deal; if so, then what's on it? Is it _Living In Fear_ plus something else?
> Or something different entirely?
I think it is the two you mention.
Btw, Allan says he did not appear on _Living in Fear_; that was Ollie
Halsell. It fooled me the first time *I* heard it, though!
Jeff
--
Jeff Preston | preston@msuacad.morehead-st.edu
Technical Support Specialist | ////\\\\////\\\\////\\\////\\\\
110 Ginger Hall, Morehead State University | (606) 783-5000
Morehead, Kentucky 40351 | (606) 783-5297
-------------------------------------------------------------------------------
Date: Thu, 23 Feb 1995 19:22:46 +1100 (EST)
From: Roger Douglas
Subject: Re: Atavachron Digest Number 127
> From: "Allan Blackman"
> Date: Wed, 22 Feb 1995 08:32:31 GMT+1200
> Subject: Re: Could you use some news?
>
> > Also... tour plans are underway. Allan has a new booking agent, and
> > there are TENATIVE plans to visit Tokyo during Golden Week (hello,
> > Takaaki Higuchi!), Australia, the U.S. west coast, Canada (several
> *********
> > more dates than usual, btw), and finally, the eastern U.S.; keep
>
> Please PLEASE could someone implore him to make the short hop across the
> Tasman and visit New Zealand - hell, we make MUCH better ales than the
> Aussies....
>
> Cheers
> Allan
Fighting talk, Allan!
If he hasn't been already, Mr. Holdsworth should be introduced to the Lord
Nelson, the oldest pub in Sydney, where they brew their own ale and serve
it in English-style pint pots.
Roger
=====
-------------------------------------------------------------------------------
From: KEVIN_SPANGLER@HP1100.desk.hp.com
Date: Wed, 22 Feb 95 18:22:00 -0700
Subject: Atavachron Digest Number 127
> Great insights, Dan... that is one thing I like about Allan: He seems
> able to bring something to a variety of projects. Hearing him play pop
> (Level 42) and "radio metal" (Jeff Watson) was a real treat. It worked
> in those two instances, certainly. I'm not sure how he'd sound on a
> Reba McIntyre track, but now that I've thought about it, he wouldn't be
> at all misplaced on a Material/Praxis CD.
Well...at the July 4th party at Music West he jammed along with some 12-bar
blues and old Allman Brothers, and it was a revelation of sorts. You think
that stuff is pretty well-explored and then along comes Allan....
Not only did the music sound different with his contribution, but *he*
sounded different in that setting. Very refreshing. Even my girlfriend,
who is not a big guitar fan, enjoyed it. Who knows, maybe there's still
time for Allan to join Whitesnake and cultivate a stable of groupies! ;-)
BTW - Allan talked to a few of us this fall after one of his clinics,
and we discussed The Harness (although that name never came up). The
objective is similar to that of the Groove Tubes Speaker Emulator, PS
Systems Power Tool, and Marshall Speaker Emulator (I forget their trade
name for it). Basically, you crank up the amp, run the speaker outs into
the device, and the output of the device goes to the mixer/tape deck/PA.
I've used all of the above-mentioned products plus others, and Allan's
sound is superior to all I've tried. Only problem is, it was me and not
Allan playing through the others - a slight variable in the equation. :-)
Allan felt that his design had advantages over the others being sold, and
could make a unique contribution to the market. His is also a *lot* smaller
and more manageable, at least the one he had with him at the clinic.
He also dropped the hint that Timothy Taylor's would be the brew of choice
if one were to pay for his product in liquid currency.
- kevin
-------------------------------------------------------------------------------
Date: Wed, 22 Feb 95 21:21:33 -0500
From: rardin%orion.dnet@auriga (R. Lynn Rardin)
Subject: Re: Tempest question
>> Apparently, there are two Tempest CDs with Allan available -- _Tempest_ (on
>> One Way records), and _Living In Fear_ (on Castle). I've seen both mentioned
>> here. Someone claimed that the One Way release was actually a 2-for-1 type of
>> deal; if so, then what's on it? Is it _Living In Fear_ plus something else?
>> Or something different entirely?
>
> I think it is the two you mention.
I'm not sure about the One Way release, but I can say that there is a release
on the Sequel label that contains both TEMPEST and LIVING IN FEAR. The
catalog number is NEX CD 159.
-Lynn
-------------------------------------------------------------------------------
Date: Fri, 24 Feb 1995 11:06:53 -0500 (EST)
From: Jeff Preston
Subject: Re: Atavachron Digest Number 127
> From: KEVIN_SPANGLER@HP1100.desk.hp.com
> Subject: Atavachron Digest Number 127
> BTW - Allan talked to a few of us this fall after one of his clinics,
> and we discussed The Harness (although that name never came up). The
> objective is similar to that of the Groove Tubes Speaker Emulator, PS
> Systems Power Tool, and Marshall Speaker Emulator (I forget their trade
> name for it). Basically, you crank up the amp, run the speaker outs into
> the device, and the output of the device goes to the mixer/tape deck/PA.
Claire re-faxed the information on the Harness a couple of days ago,
and while I'm not sure what the differences are between the Harness
and these other devices, Allan's text indicates that the Harness is
*not* a speaker emulator *nor* a power attenuator. I have to agree
that going from the description and the diagram on the fax, it sure
gives the impression of being a power attenuator... I am guessing
that the difference is the conversion to line-level that it does. But
Allan also indicated that the Harness is not designed to connect to
a tape deck or mixing console. The diagram he provided looked something
like this:
------------ ----------- ---------------
| amp head |==>>| HARNESS |==>>| outboard fx |
------------ ----------- ---------------
| |
v v
---------------
| stereo amp |
---------------
| |
v v
left speaker right speaker
> Allan felt that his design had advantages over the others being sold, and
> could make a unique contribution to the market. His is also a *lot* smaller
> and more manageable, at least the one he had with him at the clinic.
Yes; Claire indicated that the Harness would be a one rack-unit-height
box. More details later.
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
Date: Fri, 24 Feb 1995 22:09:20 -0500 (EST)
From: Jeff Preston
Subject: _Suffer_ baby, _Suffer_!
Imagine if you will, a 4.7" plastic-encased bit of aluminum, colored
gold on the "top" and green on the "bottom." No words, no markings.
"Hey, this is *bizarre*..."
-=O=-
Two weeks earlier, I had sent my check to Lolo Records, seeing that
Bon Lozaga had announced to 'alt.music.progressive' the availability
of the awaited Gongzilla CD, _Suffer_. Bon had contacted me via e-mail
in the meantime, saying that there'd been a manufacturing delay, but
that he'd be sending me a "prototype." I had envisioned perhaps a
cassette copy of the promised CD... but NO! Instead, Bon sent a
fully-functional, sonically-delicious prototype *CD*, complete with a
custom-made insert booklet (proofs glued to cardboard, it would seem).
"Wow..." was about all I could muster walking from the post office
back to the office. Wow.
In my otic-salivatory state, I quickly sized up the situation: Here
it was, 12:30 p.m., and I was going back to my CD-playerless cubicle.
What to do, what to do. Aha! I seem to recall someone mentioning a
shareware CD-ROM-to-audio-CD player for the Macintosh at some point
in the past. Hello, UMichigan Gopher! Audiodeck 2.0.6, you are
(provisionally -- support your friendly shareware authors) mine,
a-hahaha!
Well, I must say that I am thoroughly astounded by this disc (and
more importantly, by the music upon it). You'll get to hear Allan
rocking full-tilt on the title track, putting a possible end to the
speculation about his suitability for Praxis duty; in fact, his
opening lick damn near made me yell "Buckethead!" out loud (and if
we hadn't been doing a public demo of Microsoft Office right beside
my office today, I probably would have). Bon Lozaga's playing is
certainly a treat, as is Benoit Moerlen's and Hansford Rowe's.
Perhaps I am just a sucker for percussive prog-rock, but I have to
give this CD my highest recommendation; to borrow from Mr. Vance,
I say "three thumbs up!" :)
Jeff
--
Jeff Preston \\\ Moderator of the Allan Holdsworth discussion forum
to subscribe \\\ e-mail: atavachron-request@msuacad.morehead-st.edu
Web Page URL \\\ http://suppcoo.morehead-st.edu/atav/docs/home.html
-------------------------------------------------------------------------------
Date: Fri, 24 Feb 95 23:06:42 EST
From: "Bob Lynch"
Subject: Re: _Suffer_ baby, _Suffer_!
> Perhaps I am just a sucker for percussive prog-rock, but I have to
> give this CD my highest recommendation; to borrow from Mr. Vance,
> I say "three thumbs up!" :)
>
> Jeff
Jeff,
Any idea when the rest of us mortals can obtain "Suffer?" It sounds juicy.
About the Harness, I recently bought a Groove Tubes Speaker Emulator II.
(Couldn't wait any longer for Allan's box). I don't know what the
differences would be either, but I am running a Dual Rectifier into the GT
and it absolutely smokes. The Recto is a really obnoxious amp and the SE II
tames it and makes it sing like a bird. If anyone is interested, I will post
a review. Not to steal Allan's thunder; I'm sure the Harness is a quality
unit, mechanically and sonically. But the SE II is available now and kicks ass.
Now if only I could play today like Allan played twenty years ago...
--Bob
_____________________________________________________________________________
Bob Lynch
GES (JvNCnet)
3 Independence Way, Princeton, NJ 08540
Voice: 609-897-7335 Fax: 609-897-7310
Pager: 800-SKY-PAGE PIN# 5793165
-------------------------------------------------------------------------------
Date: Fri, 24 Feb 1995 23:32:16 -0500 (EST)
From: Jeff Preston
Subject: You shan't _Suffer_ long
> From: Bob Lynch
> Subject: Re: _Suffer_ baby, _Suffer_!
> Any idea when the rest of us mortals can obtain "Suffer?" It sounds juicy.
Bon's e-mail last week indicated they expected to have the CDs in-hand
in three weeks, so I'd say mid-March. Man, I feel incredibly lucky to
have this "custom job"; I don't think y'all'll (wow, two apostrophes!)
be disappointed when it makes its way into your players.
I happened to dig out _Expresso II_, since I had a feeling I'd heard
one of _Suffer_'s tracks before. Sure enough, "Gongzilla's Dilemma" is
a re-make of "Golden Dilemma" from _Expresso II_. Great version, too.
> Not to steal Allan's thunder; I'm sure the Harness is a quality
> unit, mechanically and sonically. But the SE II is available now
So is the Harness!
> Now if only I could play today like Allan played twenty years ago...
I think most of us have that problem in common... ;)
Jeff
--
Jeff Preston | preston@msuacad.morehead-st.edu
Technical Support Specialist | ////\\\\////\\\\////\\\////\\\\
110 Ginger Hall, Morehead State University | (606) 783-5000
Morehead, Kentucky 40351 | (606) 783-5297
-------------------------------------------------------------------------------
Date: Sat, 25 Feb 1995 11:43:54 +0500
From: fstopron@inforamp.net (Ron Belli)
Subject: Atavachron: A fountain of AH information!
I just wanted to express how nice it is to be a part of the Atavachron
Group. Jeff Preston does a splendid job providing a fountain of AH
information: I thought I had all of AH's recordings in existence, but
after accessing the amazingly thorough discography database I certainly
learned a lot more. It's great to see how our group members freely exchange
opinions and information, with a genuine appreciation for AH's
musicianship. (For years, I'd hear people say, "Allan who?" or "What's the
big deal about him?") But we know otherwise!
Ron Belli
Toronto, Ontario
-------------------------------------------------------------------------------
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