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The New Atavachron Digest 9/96
Date: Sun, 15 Sep 1996 21:08:42 -0400
From: owner-atavachron@jabular.webster.com
Apparently-To: atavachron-outgoing@jabular.webster.com
To: JEFF@ADDIMENSION.COM
The New Atavachron Digest 96/09/15
Sender: owner-atavachron@webster.com
Precedence: bulk
Reply-To: Jeff Preston
----------
Date: 26 AUG 96 16:25:07 EDT
From: MBogdono@dechert.com
Subject: AH's Steinbergers
Can anyone tell me why AH stopped using his Steinbergers, whether he sold
them, and if so to whom, and what, if any, custom work he had done on them.
I seem to recall one with a dragon's head painted on it, but I could be
mistaken.
I saw AH's new Carvin guitar pictured in this month's Guitar Player. It
looks a bit like the Villette-Citroen (bad spelling, but from memory)
guitars profiled this month in Vintage Guitar.
Mike Bogdonoff
mbogdono@dechert.com
----------
Date: 27 Aug 96 07:50:03 EDT
From: Jon Durant <74074.1316@CompuServe.COM>
Subject: Gary Willis CD
Hey Atavachronists-
The new Gary Willis solo album, "No Sweat" is out and available. Willis is
joined by the amazing Dennis Chambers (who may just be the best drummer on the
planet), Steve Tavaglione (a highly original sax and EWI artist) and Scott
Kinsey (the young and talented Tribal Tech keyboardist).
There are some stores carrying it, and some mail-order kinds of folks
(Audiophile Imports). Unfortunately, most of the big chains won't deal with us
nationally, because we don't have one of their "approved" distributors. So, as a
result the easiest way to get it is direct: http://www.musicpro.com/alchemy/
or call 1-800-292-6932 or call/fax (617) 383-0086. Hours are generally 9-5 EST,
but we're around before and after a bit as well...
Later,
Jon Durant
Alchemy Records
----------
From: Allan Holdsworth (address withheld by request)
Date: Wed, 28 Aug 1996 14:15:06 -0400
Subject: REH Video
I found it quite amusing to hear Craig Ellett's "hardly instructional"
comment about the REH video. First of all, the worst kind of teaching in the
world, in my opinion, is the "put this finger here" "play this lick here" and
"here's how to do everything that everyone else has already done" syndrome.
What I tried to do in my video was to give the individual some information
that could help them help themselves, which is a preferable method of
teaching, in my opinion. Everything that was spelled out in the video, with
regard to scales and chords etc. is the basis of all my studies. I could
live to be a thousand years old and still have not used up the information
presented in this video as I'm still using this method. (Maybe I'm a slow
learner.) Not to say there aren't endless amounts of information that were
not included. This video was just a glimpse into the way I do things but the
basics can be found in there. Perhaps he should look again!
----------
Date: 28 Aug 1996 18:21 +0000
From: Steve Izzard
Subject: AH Video
Hi,
it's me again , I've found a Uk supplier for Alan's video ,
if anyone needs info they're welcome to e-mail me.
As of today 28 Aug 1996 it's out of stock , but will be
available in 4 weeks.
Cheers
Izzy
----------
Date: Mon, 09 Sep 1996 10:34:55 -0700
From: Craig Ellett
Subject: NTS
In case you're interested...
The latest Carvin catalog has Allan on the cover. It also has NTS
offered at $15.95, which BTW, is slated for an October release...
[ Moderator's note: Actually, it's slated for release 9/24/96...
next week! --JP ]
Thought you all should know.
-Craig
----------
From: esills@finsun.mis.semi.harris.com (Eric Sills)
Subject: Carvin Catalog
Date: Mon, 9 Sep 1996 15:01:19 -0400 (EDT)
Hello.
In case you don't already know, AH is featured on the cover of the new Carvin
catalog. His signature guitar is featured within.
Eric Sills
----------
End of Atavachron Digest
Send postings to: atavachron@webster.com
Send administrative requests to: atavachron-request@addimension.com
Web page: http://www.addimension.com/holdsworth/
Date: Mon, 23 Sep 1996 12:16:19 -0400
From: owner-atavachron@jabular.webster.com
Apparently-To: atavachron-outgoing@jabular.webster.com
To: JEFF@ADDIMENSION.COM
The New Atavachron Digest 96/09/23
Sender: owner-atavachron@webster.com
Precedence: bulk
Reply-To: Jeff Preston
----------
Date: Mon, 16 Sep 1996 08:44:47 +0200
From: Edwin van der Hoeven
Subject: Soon in Europe/ new Carvin guitar
Hi fellows,
There's already a lot said about the NTS record, but I would really like
to know if it is available in Holland and does anybody know HOW or WHERE
to order it. I'm really.. really looking forward to having a copy.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
I breaking my mind about one thing. Why is there a Carvin guitar made??
I've read some articles about it and the only thing it said is that
Allan incorporated in the design and making of the guitar, but that the
guitar lost it's true integrity because Carvin also wanted to make a
guitar that could be sold and changed the design for some bit.. Knowing
a little about Allan I find it hard to believe that he would rather make
a guitar that could be sold than making one with the right sound......
I'm really curious to know the truth within the progress of making the
guitar and the intension Carvin had by making an AH guitar.. Personally
I think the Delap guitar's sound great. No offense, but I'd rather see
one of them on the market than an ugly looking, non integrit, money
making Carvin guitar.
Edwin van der Hoeven
ELAH.Septysed@caiw.nl
----------
Date: Mon, 16 Sep 1996 01:46:57 -0500 (CDT)
From: "Patrick M. McMillin"
Subject: Instructional video...
I would have to 'second' all of Mr. Holdsworth's
remarks regarding the video. I have viewed quite a few,
and this one is by far the one most aimed at giving info
on playing over so many chord types and progressions. In fact,
I have not actually viewed one (they may exist) that gives
an entire scale pattern across the whole neck other than
this one. Just wanted to let it be known how much info I
have been lucky enough to absorb from this instructional.
|)
/
/| Patrick M. McMillin
/ |__ The University of Texas at Austin
( (|_ ) patrick-mc@mail.utexas.edu
\_|_/
J
----------
Date: Sun, 15 Sep 1996 23:56:15 -0800
From: edju@scf-fs.usc.edu (Edward Ju)
Subject: Allan appears in person
The latest Carvin catalog has a schedule of Allan's in-person appearance to
demonstrate his new guitar. Two of the four scheduled dates are:
2211 E. Garvey Ave.
West Covina, CA
Oct 26, Sat
1-3PM
(818)332-5727
7414 Sunset Blvd.
Hollywood, CA
Nov 23 Sat
1-3PM
(213)851-4200
Don't forget to show up!
Eddie
edju@scf.usc.edu (good until Sep 20, 96)
http://www-scf.usc.edu/~edju/index.html
*** I am MOVING! Please check my homepage for latest news on where I'll
end up! My new e-mail address at Pepperdine is: etju@pepperdine.edu ***
----------
Date: Mon, 16 Sep 1996 08:34:16 -0400
From: jseltzer@wardenclyffe.com (Captain Liberal)
Subject: Re:
>Can anyone tell me why AH stopped using his Steinbergers, whether he sold
>them, and if so to whom, and what, if any, custom work he had done on them.
> I seem to recall one with a dragon's head painted on it, but I could be
>mistaken.
>
To the best of my knowledge, Allan stopped using Steinbergers because Ned
Steinberger sold the company to Gibson. Thus, Allan couldn't maintain the
contact he originally had with the company. (It probably also had to do
with the decline in quality that occured around that time as well.)
The dragon guitar was recently for sale...(I think Jeff P. knows something
about this?). I do not recall the source of the guitar, but it was one of
the wood bodied (GM series) Steinbergers.
Captain Liberal
-------------------------------------------------
The opinions voiced herein DO represent the views
of the management of Wardenclyffe Technology Ltd.
-------------------------------------------------
----------
Date: Mon, 16 Sep 1996 08:53:56 -0400
From: jseltzer@wardenclyffe.com (Captain Liberal)
Subject: Re:
>From: Allan Holdsworth (address withheld by request)
>Date: Wed, 28 Aug 1996 14:15:06 -0400
>Subject: REH Video
>
>I found it quite amusing to hear Craig Ellett's "hardly instructional"
>comment about the REH video. First of all, the worst kind of teaching in the
>world, in my opinion, is the "put this finger here" "play this lick here" and
>"here's how to do everything that everyone else has already done" syndrome.
> What I tried to do in my video was to give the individual some information
>that could help them help themselves, which is a preferable method of
>teaching, in my opinion. Everything that was spelled out in the video, with
>regard to scales and chords etc. is the basis of all my studies. I could
>live to be a thousand years old and still have not used up the information
>presented in this video as I'm still using this method. (Maybe I'm a slow
>learner.) Not to say there aren't endless amounts of information that were
>not included. This video was just a glimpse into the way I do things but the
>basics can be found in there. Perhaps he should look again!
>
I couldn't agree more. The video and accompanying documentation lay out 12
complete neck scales and several complete songs from the video. (If you get
the corresponding book, you get even more detail...) The method, IMHO, is
quite useful in exploring Allan's approaches to scales and chord forms in
general (i.e., interval permutations, the neck as one piece approach, etc.).
In fact, from what is given here and in "Uncommon Chord," you can
extrapolate the majority of Allan's body of work (if that is desirable to
you - I know it was to me).
I'm sure we could all find teachers locally who could show us how to do the
"Nevermore" solo, but I found it much more useful (and mind expanding) to
pick it up myself... not that I plan on ever USING it. (I may have gotten
it "wrong," but perhaps getting it "wrong" is my getting it "right?") The
thing with Allan's playing (as those of us who have seen him live know) is
that all solos are improvised. You'll never SEE the solo that you HEAR on
record.
The bottom line is that Allan cannot really help you play like Allan. (That
is not even desirable.) Obviously, we all enjoy Allan's playing. When we
listen long enough, much of what we listen to will seep into our playing and
methods. This is to be expected. The idea is to build something new based
on all available knowledge and expansion of that knowledge based on our own
creativity and unique methods.
Captain Liberal
-------------------------------------------------
The opinions voiced herein DO represent the views
of the management of Wardenclyffe Technology Ltd.
-------------------------------------------------
----------
Date: Tue, 17 Sep 1996 00:22:43 +1000 (EST)
From: David Graham
Subject: Will Alan Play on Gary Husbands CD ?
Does atavachron know if Alan Holdsworth will be playing on any
of the tracks on the CD that Gary Husband is supposed to be in the process
of recording ?
If he will be playing on it is there any idea of how tracks he
will be on ?
Regards from
David
----------
Date: Mon, 16 Sep 1996 10:34:29 -0700
From: Craig Ellett
Subject: Re: Allan's Comments
> From: Allan Holdsworth (address withheld by request)
> Date: Wed, 28 Aug 1996 14:15:06 -0400
> Subject: REH Video
>
> I found it quite amusing to hear Craig Ellett's "hardly instructional"
> comment about the REH video.
>
Oops!
I guess the term "Hardly instructional" was not the appropriate way of
getting my message across. I suppose that's the price I pay for
communicating electronically.
Ok, so I'll elaborate a bit. It is my opinion (and purely mine), that 90%
of the guitarists out there learn the technical aspects of music exactly the
way that Allan suggests they don't. By letting someone else's explanation be
the whole basis of ones foundation. I fully agree that if you figure it out
for yourself, your depth of understanding and expression will be far greater
than some pattern you picked up at G.I.T..
Don't get me wrong (and some people will). There's a lot of good players
that come out of G.I.T, but there's also a lot of guitarists that come out
playing the same chops. I view this as purely a reflection of that
individuals interpretation of what they were taught and their inability to
apply it to feeling. Again, this is my opinion and more likely the
exception rather than the rule.
When I tore open the wrapper and plugged in my video, I fully expected to
see "Put this finger here", and "Play this lick here". Why? Because the
other videos I have, that's exactly what they do. Obviously, my selection
of instructional videos will be a little more particular in the future.
I was amazed that Allan's video didn't pursue this avenue of instruction. I
was glued to the TV set. It was the first time I was able to see him play
that close up. My jaw dropped to the floor when I realized that he had
figured it out for himself and this is how he saw it. At last, a different
approach (for me anyway).
As far as the book that accompanied the video, I use it as a reference
point. The tabliture only adds to my own frustration (of not being able to
play like that), but the chord charts and scales are a big help. I now have
another foundation to use and a guide to it's application. But it's up to me
to figure it out. What a concept.
I've always been under the impression that you had to study for years at some
academic institute and spend huge sums of money in order to be a proficient
player. Allan's video only confirms that what I've been doing is fine, and
probably the best course of instruction for me.
I welcome any comments, encouragement, and otherwise.
-Craig
----------
From: pvallado@waynesworld.ucsd.edu (Paolo Valladolid)
Subject: Re: your mail
Date: Mon, 16 Sep 1996 18:11:29 -0700 (PDT)
> I saw AH's new Carvin guitar pictured in this month's Guitar Player. It
> looks a bit like the Villette-Citroen (bad spelling, but from memory)
> guitars profiled this month in Vintage Guitar.
It looked more like the DeLap that he's been playing most of the time - to me,
at least. Except there's a headstock and a choice of Wilkinson trem or
Tune-o-matic bridge instead of the Steinberger TransTrem. The placement
of BOTH guitar strap knobs on the back side of the guitar (usually one is
placed on the neck-side of the guitar body) is an intriguing one - I wonder
how comfortable this would be in practice.
Hope to see a review of this thing soon....
With regards to Allan's book, I just wanted to comment that the study of
the solos has been useful for extracting new ideas... the fingering and
intervallic ideas are so "non-standard" or far away from that used by
other guitar players by virtue of not being comfortable to play - at least
at first. I don't know of any beginning or intermediate guitarist who
naturally tosses in the perfect fourth interval or larger intervals into
his improvisations, the usual tendency is to run scales and prepracticed
arpeggios and licks that are comfortable to play. The ideas gleaned are a
great way to break away from the "blues box", and other preprogrammed pattern
playing.
Not that I'm a great player... I may suck, but at least I don't suck like
anyone else! ^_^
There was a short thread on "Allan Holdsworth's Ten Scales" or something
like that on the Stick mailing list. As most of them are modes of the major
and melodic minor which a few extra notes added, I don't think it would help
to learn them if you already know how the scales sound. IMHO, it only helps
to practice a scale long enough to become familiar with its sound; any
further practicing just makes you better at playing that scale faster which
increases the liability of simply reciting the scale in the heat of
improvisation.
Paolo
Paolo Valladolid
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----------
Date: Tue, 17 Sep 1996 16:18:11 +0100
From: "Bas van der Heijden"
Subject: The inaudible Capricorn prince
If there is a first recording of both AH and M. Brecker then it must be a song
from the Esther Philips album. I have lent a copy from the library and
according to the sleeve Allan appears on one song (Boy, I really tied one on)
playing the pedal steel guitar. The problem is I can't hear any AH sound on the
track. On another tune (Beautiful friendship) I think I can detect a pedal
steel guitar. Apart from a solid cast (eg. J. Berlin, Brecker bros) this album
is not a real suggestion for AH die hards.
On other albums on which Allan plays he is definitly present, even when the
engineer turns the guitar down (Level 42).
I am very curious about the Johanson cd, any of you have comments on it
already ? I havent seen it in my country yet.
Ciao
----------
Date: Thu, 19 Sep 1996 17:09:54 -0700 (PDT)
From: Roger Billerey
Subject: Heavy machinery
Hi Holdsworthheads (man, that's a LOT of h's)
Has anyone out there heard "Heavy Machinery" feat. Allan and the brothers
Johansson of Malmsteen-Hellborg fame? I'd like to know what it sounds
like so I can know what to expect when I receive it (even though with
such credits I know it's probably the ultimate fusion album that will put
any further attempt at innovation and virtuosity to rest).
Please feel free to email me regarding any Allan-related stuff.
Rog the Frog
----------
Date: Fri, 20 Sep 1996 15:10:45 -0400
From: jmcgann@world.std.com (John McGann)
Subject: AH Video
Just to back up Allan's reply about his video: Absolutely! There is such a
great wealth of information here...it does require musicianship to decide
what to do with it and how to apply it. Allan's style is obviously so
distinctive that even if you were able to execute the transcriptions
perfectly, you'd be missing the point. It's how YOU process the material
that will make the difference and add dimension (no pun intended) to your
own playing that gives any 'study' it's value.
I was very happy to see Allan's method of organization of musical
materials- he is obviously not locked into the chord/scale theory that
thousands of us learned -which, to be fair, is a good way to present
material in easily digested chunks, useful in an effective
paint-by-the-numbers approach that is a good leaping-off point for
creativity.
Viewing the neck 'as a whole' is a real challenge to those of us who
learned the widely taught 'position playing' thing that makes for
effiecient sight reading. So many great players have seemed to take a more
'vertical approach', playing along the neck.
There are plenty of sources for standard guitar mannerisms, and the last
place to look is an AH video or recording!
Another good source for thought-processing on the guitar is Mick Goodricks'
"The Advancing Guitarist" (Published by Hal Leonard, widely available)
John McGann (jmcgann @ world.std.com)
Transcription/Technique Web Site http://world.std.com/~jmcgann
----------
Date: Sat, 21 Sep 1996 20:42:24 -0700
From: mreiner@ix.netcom.com (Matt Reiner)
Subject: Thank You, Allan
Hello!
I'm rather new to all this fan mail stuff, so forgive me please if I'm
breaking any social protocols with message.
It's just that I was so pleased to discover the web sites dedicated to
Allan Holdsworth, and even more pleased to see that he's occasionally
involved in them. This gave me the vague hope that he might actually
get this message. So, here goes.
The purpose of this note is simply to say a sincere thank you to Allan
for his skill, creativity, and discipline. I am not a musician, but
I've dabbled enough in music and other very difficult things that
require both skill and devotion, to be able to appreciate great work.
For me, Allan is simply a brilliant pleasure to listen to.
I will risk boring you with three quick memories:
1. I had the pleasure of seeing Allan with Bill Bruford in the
original U.K. tour. It was in a rather small place in Tempe, AZ,
called Doolies. That place is gone, but I will never forget the
feeling I had watching them play together.
2. Perhaps my greatest pleasure was seeing Allan at the 9:30 Club in
Washington, DC, during the "Sand" tour. This is a small place where at
the time, you simply stood and watched; there were no chairs. I was
only 12 feet from the stage and I had a straight-on view of his hands
on the synthaxe.
He opened the show with the title cut ("Sand") and I was absolutely
stunned. I had never seen anyone's hands move so quickly and
gracefully and accurately before. The music was like nothing I had
ever heard before. I'll never forget that moment. I knew I was
witnessing something magical.
3. I saw Allan a few years later in a small place in Baltimore, MD.
(I can't recall the name of it.) Again, the chance to see those hands
move so effortlessly across his guitar was inspiring.
By the way, I was just thrilled by the title cut from "Hard Hat Area,"
and the first cut, "Prelude."
I will never be a musician; but seeing Allan has taught me something
very important about the joy of being a careful listener. Allan, I
hold you in a singular place of appreciation occupied by a very few
others (which includes Bill Bruford).
Please don't ever stop pushing your limits. I need your example in my
life.
Sincerely,
Matt Reiner
----------
Date: Mon, 23 Sep 1996 09:16:20
From: Jeff Preston
Subject: _None Too Soon_ hits the shelves
Hi folks,
Just a reminder: _None Too Soon_ will be in the stores
in the U.S. tomorrow. Don't forget all those friends and
family members who would love to have a copy of their
very own. :)
Coming soon to AtavaWWW: Steve Hunt has sent me a *ton*
of photos from various tours with Allan throughout the
years, so I'm trying to get something together for y'all
to peruse.
Jeff
----------
End of Atavachron Digest
Send postings to: atavachron@webster.com
Send administrative requests to: atavachron-request@addimension.com
Web page: http://www.addimension.com/holdsworth/
Date: Mon, 30 Sep 1996 13:26:35 -0400
From: owner-atavachron@jabular.webster.com
Apparently-To: atavachron-outgoing@jabular.webster.com
To: JEFF@ADDIMENSION.COM
The New Atavachron Digest 96/09/30
Sender: owner-atavachron@webster.com
Precedence: bulk
Reply-To: Jeff Preston
----------
Date: Fri, 20 Sep 1996 15:10:45 -0400
From: jmcgann@world.std.com (John McGann)
Subject: AH Video
Just to back up Allan's reply about his video: Absolutely! There is such a
great wealth of information here...it does require musicianship to decide
what to do with it and how to apply it. Allan's style is obviously so
distinctive that even if you were able to execute the transcriptions
perfectly, you'd be missing the point. It's how YOU process the material
that will make the difference and add dimension (no pun intended) to your
own playing that gives any 'study' it's value.
I was very happy to see Allan's method of organization of musical
materials- he is obviously not locked into the chord/scale theory that
thousands of us learned -which, to be fair, is a good way to present
material in easily digested chunks, useful in an effective
paint-by-the-numbers approach that is a good leaping-off point for
creativity.
Viewing the neck 'as a whole' is a real challenge to those of us who
learned the widely taught 'position playing' thing that makes for
effiecient sight reading. So many great players have seemed to take a more
'vertical approach', playing along the neck.
There are plenty of sources for standard guitar mannerisms, and the last
place to look is an AH video or recording!
Another good source for thought-processing on the guitar is Mick Goodricks'
"The Advancing Guitarist" (Published by Hal Leonard, widely available)
John McGann (jmcgann @ world.std.com)
Transcription/Technique Web Site http://world.std.com/~jmcgann
----------
From: pvallado@waynesworld.ucsd.edu (Paolo Valladolid)
Subject: Carvin Controversy
Date: Mon, 23 Sep 1996 13:52:14 -0700 (PDT)
> Date: Mon, 16 Sep 1996 08:44:47 +0200
> From: Edwin van der Hoeven
> Subject: Soon in Europe/ new Carvin guitar
>
[snipped]
> I'm really curious to know the truth within the progress of making the
> guitar and the intension Carvin had by making an AH guitar.. Personally
> I think the Delap guitar's sound great. No offense, but I'd rather see
> one of them on the market than an ugly looking, non integrit, money
> making Carvin guitar.
>
> Edwin van der Hoeven
> ELAH.Septysed@caiw.nl
I think we should give the guy a break here. First of all, Allan has to
make a living like the rest of us. If making money from a signature model
guitar will help him feed his family, who are we to judge him? I don't
kno about you, but I'd rather see Allan continue his music career than retire!
Second, I personally care more about the _sound_ of a guitar than it's
appearance, although I personally think the guitar looks ok and not that much
different than the Delap guitar. You can't judge the sound of the guitar if
you haven't even heard it yet.
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: Tue, 24 Sep 96 10:01:29 PST
From: "Hoard, Chris"
Subject: Fizzbusting Expedition/Nevernews
Just a few noteworthy items to share...
AH has departed to Denver to preview the Fizzbusting wares, and will
begin taking orders at the Great American Beer Festival -- which runs
the week of 9/30. He'll have plenty of Angram hand-pumps on hand for
fizzbusting and English ale enthusiasts. A production prototype of
the Fizzbuster will be on hand for any beer enthusiasts in the area,
that might want to sample the fine tastes of American micro-brews when
served through this "keg adaption" process.
Also I'm very pleased to report that AH has completed ten plus
tracks for the forthcoming Neverwas project. The resulting
music--abounding with extended solos by AH--has definitely got my
adrenalin going again. It is probably the most AOR oriented project
Allan has ever done as a full participating member of the group--it's
more accessible in terms of being groove-oriented than UK, but still
very much in a progressive mode. Markham Gleed, the project's
writer/producer/keyboardist describes it as "Kind of Alice In Chains
meets Mahavishnu."
As this has arisen from the same creative team that put Soma together,
I can only say this will be quite a different offering in terms of
AH's contribution--which is a central part of the project, rather than
a handful of guest solos. A couple of tracks feature both shorter and
long solos by AH, and there's some rather startling gems in terms of
chordal/rhythm embellishments. So somehow this summer Neverwas
managed to get another complete album project done with AH, though
he's been concentrating foremost on Fizzbusting. You could say it
served as an alternative musical outlet for AH--and as expected the
playing captured on tape was as inspired as ever. AH's generous
support of this largely under financed effort will hopefully build the
momentum needed to get the project completed. It's half done with
guitars/drums/some keys tracked. It may well take another twelve
months to finish bass/vocals/additional keys, as well as planned guest
contributions from saxophonist Art Porter, and violinist Jerry
Goodman. The project will likely feature some guest vocals backing or
trading with Mark on some of the tracks. When it's mixed, I think it
will become a notable entry on the discography--only time will tell...
Cheers/Chris.
----------
From: KingsleyD@aol.com
Date: Wed, 25 Sep 1996 08:21:21 -0400
Subject: Re: No Subject
>>re: the AH guitar
I presume the double strap buttons on the Carvin AH are so the guitar doesn't
pitch over as easily when set down on the floor. My Tom Anderson guitars
have that, too. There's another button in the usual location on the heel.
>>re: the video, Mick Goodrick, and learning
As a mathematics teacher, I'm constantly confronted by the disparate ways in
which people learn. While I'm very much the sort that finds Holdsworth's
approach (and Goodrick's - that book is my all-time favorite) appealing and
useful, it's not at all geared toward how the majority of people learn. Most
people need to start out with practical, easily mastered tasks, and gain a
sense of competence or mastery at those tasks before tackling theoretical or
"big picture" issues. A number of ed. researchers (and psychologists) have
found that there seems to be an iterative process wherein people go through a
period of working on tasks they don't really understand, mastering those
tasks, and then coming to see those tasks as objects rather than processes -
i.e., reaching the next cognitive level. The technical term used for this
transition is "reification."
For example, when first learning a particular scale in a particular key, most
people futz around for a while, trying to figure out where to put their
fingers in order to make the notes. With further practice, they begin to
hear the notes in sequence and to get an aural sense of the scale, but they
still play it in a way that reflects the fingering patterns they learned.
With further practice, they reach a point where the sound and note choices
are simply there for the taking and the scale becomes a way of communicating
a certain idea - emotion - color - whatever. In the first two stages, the
scale is a *process* for that person, whereas in the third it has become an
*object*. At that point, of course, there are different and more abstract
processes to be mastered and the cycle begins again. As AH said in his GW
interview in '89 - you get to the top of one hill, and all of a sudden a
bigger one looms in the distance!
In any event, there's still a lot of discussion as to the mechanics of the
cycle, and it should be obvious to the readers of this thread that reaching
the third stage isn't a necessary result of "x" amount of practice - lots of
students never get there. There has to occur some amount of reflection and
abstract thinking. The type of experience, amount of time, and amount and
character of theoretical thinking necessary for reification varies greatly
among individual students, which is why teaching a class of 13 kids is hard
and a class of 35 is impossible.
Good thread, BTW, and glad to be back in the loop after a year's sabbatical!
--Kingsley
----------
Date: Fri, 27 Sep 96 10:15:31 PDT
From: IAN DOUGLAS MARTIN
'None too soon' arrived here in Cape Town, South Africa courtesy of my parents
returning from Tower Records, London. (At our poor exchange rate I ended paying
R105, that's the money equivalent of about 15-18 pints of good bitters at
our local
tavern!).
With that sense of anticipation, I heard the first warm tones of rapidly
increasing,fluid notes cascade over reverberating percussion - a mesmerising
introit
to this album. The 'Countdown' had begun. And then, what joy... why this
album sure
swings. This album has space, it's really open with soaring compositions and
exciting improvisation.(Surprisingly not one Holdsworth composition, but
that's not
to say you have no doubt whose album this is.)
Soundwise I believe its easily the best recorded Holdsworth album. With the
wonderful 'Secrets' album, the mix seemed rather compressed on my CD copy
with the
bass hardly noticeable. On NTS, I can now hear the bass without straining; Gary
Willis seems to have more presence. Perhaps it is because the recording
achieves
excellent instrument separation making this album an audiophile delight?
By the second track, 'Nuages' you cannot but notice Allan's meticulous
articulation
and perfectly timed runs are nothing short of breathtaking. It somehow seems
more
apparent that there is some awesome musical skill and technique on display.
Perhaps
Mr Holdsworth's playing has made further improved strides? Perhaps it is
hearing
those legato lines over tasteful piano phrasing?
Midway through the 'Nuages', Gordon Beck's piano breaks through. In my heart, I
have always felt that Allan's guitar or synthaxe sound juxtaposed over piano
was
more emotionally satisfactory than keyboards - I think of '54 Duncan
Terrace' as a
good example.
Continuing with 'Nuages', the synthaxe swells to end this beautiful
composition.
Clearly the synthaxe melts into these pieces in such an appropriate way. It
seems so
fitting in the jazz idiom and with piano.
Beck's outstanding composition suite 'None Too Soon PT1 and PT2' is my
favourite so
far; a rich symphony of instrumentation including delightful, gentle synthaxe
touches at the end of Allan's guitar solo. I apologise if this analogy is not
appropriate but Herbie Hancock and Marsalis reaming it on a good day came to
mind.
It is surely the piano that gives this lengthy album it's dominant jazz
character,
and in many ways I believe much of the success of this album is due to Beck's
brilliant comping and bright solo forays. His solo and then supportive piano
phrasing during Allan's solo on 'Norwegian Wood' is worthy of special comment.
Listen to it...
The variety of dynamics, Covington's colourful array of cymbal work over
rolling
toms flowing or driving intriguing compositions, is so tasteful. All the
instrumentation that moves from Brecker-like EWI sound in 'San Marcos' to
blistering
solos is carefully forged. Hear the rich melodic bass soloing, space, ringing
chordal work and a wonderful piano solo, in 'Very Early'(and what a talented
vibes
player the maestro is...)
My negative criticism is minimal. I didn't like the end fade on 'Countdown'. I
wanted to hear where that solo was going. And then some minor confusion
about the
order of the tracks - 2 different versions on the CD sleeve, plus the
correct order
on the disc and the back of the CD box. Maybe its my fault that I do not
know my
jazz standards; at least I recognised 'Very Early' and 'Norwegian Wood'!
Finally, this is some band, and they sound like they had fun,(is Allan even
smiling
on the back CD sleeve photo?)
All in all, this excellent, joyful album sure cooks.
(Personally, I was relieved half way through my first hearing, as after
hearing all
the hype about this album representing the jazzier side of things, I had an
irrational fear that a jangly George Benson or at the best, a Metheny guitar
tone
would pervade.)
Regards
Ian
-------------------------------------
Name: IAN DOUGLAS MARTIN
E-mail: IAN DOUGLAS MARTIN
Date: 9/26/96
Time: 9:02:10 PM
This message was sent by Chameleon
-------------------------------------
----------
Date: Fri, 27 Sep 1996 09:35:36 -0600
From: "Mark C. Wood"
Subject:
** For Your Eyes Only **
>Date: Mon, 16 Sep 1996 08:44:47 +0200
>From: Edwin van der Hoeven
>Subject: Soon in Europe/ new Carvin guitar
>I've read some articles about it and the only thing it said is that
>Allan incorporated in the design and making of the guitar, but that the
>guitar lost it's true integrity because Carvin also wanted to make a guitar
>that could be sold and changed the design for some bit.. Knowing a little
Where did you read this? What changes did Carvin make?
----------
From: ToddC12379@aol.com
Date: Fri, 27 Sep 1996 21:46:56 -0400
Subject: Re: AH REH Video & NTS
Whoever made whatever comments about the REH video, well, as for me, that is
one of the finest videos I have seen on the subject of jazz improvisation
("Jazz?!?!?!? I HATE Jazz!!!!!)
To the guitar players out there, do you want people to say you sound like AH,
or would rather hear then say that you have got something of your own,
something totally original and beautiful>??????? Purchase this video, watch
it, listen to Allan discuss his concept, let those ideas pervade your soul,
but, by all means the concept is not to BE Allan Holdsworth, IMHO. If you
want to do that, buy one of those slow-down tape recorders and spend the rest
of your life working out his solos, then bill yourself at your next gig as
Rich Little!!!!!!!!!
Mr. Holdsworth's response on the Atavachron listserve was indeed humorous.
You see, I am 1000 years old and I am still working on some of the concepts
and ideas he taught in that video -- not in an effort to play like AH, but
rather, as the title suggests it's JUST FOR THE CURIOUS!!!!!!!!
None Too Soon is such an appropriate title!!!! Indeed, it arrived here in the
U.S. NONE TOO SOON. It's great and there is some outstanding playing on the
CD. I highly recommend that anyone getting into AH buy this CD.
----------
From: Jeff Preston
Subject: Man, is it slow
Date: Mon, 30 Sep 1996 11:37:35 -0600
(list traffic, that is... after _NTS_ hit the streets in
the U.S., I thought we'd see more discussion, but don't
everyone rush in at once, now)
:)
T-shirts: Mark Huesman wasn't able to keep his
appointment with me this weekend (he was in Nashville
to attend his brother's wedding), but he did say he
would fax some designs to me tomorrow. I would like
to express my thanks for the patience shown by all those
who so expectantly sent in their pre-order payments, and
I again apologize for the delays. Again, none of the
checks have been deposited, so if anyone would like a
refund, now would be a good time to e-mail me, before
Mark and I finalize plans.
Okey-dokey, that's all I have for now!
Jeff
----------
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