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The New Atavachron Digest 1/97
Date: Sat, 11 Jan 1997 20:46:25 -0500
From: owner-atavachron@jabular.webster.com
Apparently-To: atavachron-outgoing@jabular.webster.com
To: JEFF@ADDIMENSION.COM
The New Atavachron Digest 97/01/11
Sender: owner-atavachron@webster.com
Precedence: bulk
Reply-To: Jeff Preston
----------
From: jace@coastalnet.com
Date: Sun, 22 Dec 1996 12:31:35 -0500
Hello everybody,
Just wondered if anyone tried, or has the beginning transcription to
"Zarabeth" of Wardenclyffe Tower? I have transcribed some of it, But just
want to compare notes with someone else.
Ohh also, I love this discussion group, But I'm growing tired of
the Jazz swing or harmonic discussion that's going on. Just enjoy the music
and don't worry about the mathmatics.....
Thanks Jason
jace@coastalnet.com
----------
Date: Sun, 22 Dec 1996 17:06:23 -0500
From: chip@csra.net (Chip the Apparently Endlessly Single)
Subject: Innovation. Sorry, IMHO.
There are instances in the Holdsworth discography that I feel are examples of
breaking tertiary harmony in a fresh way. Ways that haven't been done
previously.
Not as blatant as the first 12 tone row composition or a Picardy third, but
innovative. That's what I *think*, and I'm not going to write a
dissertation on anything. I've done my share of studying Parker, Coltrane,
Coleman, Ligetti, Schoenberg, Bartok, etc. I'm
also aware of guys like Zorn, Branca and Glass, for what it's worth. I've
spent
most of my life studying music in one way or another, and have spent a good bit
of it in the woodshed. I also don't care if you're a member of the Jazz Police
or something.....
I think there are idiomatic phrases that are unique to Holdsworth, IMHO.
I think there are idiomatic chord progressions that are unique to Holdsworth,
as well as treatments of modulations that are unique, IMHO.
He does do things that do have precedents. EVERYONE does things
that have precedents. However, in all of the music I've researched, I think
he's been the most successful of building on his influences in a unique way.
Moreso than most anyone - there are seldom phrases that I hear that
I've heard before, either blatantly or disguised. This goes for the "Greats"
in jazz history. Which IS NOT a slam, just a comment. And no, I don't
care about what who played on some Monk tune on a bootlef from Paris
back whenever. Whatever they did was not neccessarily divine intervention,
either - IMHO.
Modal vamps aside, I am not aware of any other guitar player in the
70's that sounded anything like Holdsworth. Ollie Halsall had some
similarities, but it broke down on close inspection - IMHO. There are others
that shared some aspect or another, I don't *think* there was anyone
else who had such a completely individual conceptual approach, in my
opinion. There may have been someone who played a progression that
was "Holdsworth-like" sometime, or someone who did this or that similarly,
but the entire pie? I don't think so. Again, I think there are examples of
uniquely individual phrases that were harmonically and melodically new -
IMHO.
here are not any "harmonic restraints" today. By the same token I don't
think blithely spraying a bunch of atonal notes over a dissonant chord (what
passes
as "progressive jazz these days" is pushing back harmonic restraints, either.
By "harmonic restraints" I meant traditional triadic/diatonic harmony. There's
alot of people doing alot of.... "curious" stuff in the Knitting
Factory/avant garde
scene. By "pushing" I mean he's doing things that are, in my mind, extensions
of the traditional. What people like John Zorn (et al) are doing is pretty much
as far as "Harmonic restraints" are going to get pushed, but I don't think it's
as clever as what Holdsworth is doing. IMHO.
He's doing things in a similar vein as what some people have done in the past,
yes. BUT - I think he's got plenty of things he can call his own, and that's
the highest achievement a musician can achieve........ IMHO.
]]]]]]]]]]]]]]]]]]] Chip McDonald - chip@csra.net [[[[[[[[[[[[[[[[
]]]]]]]]] "Try to be reasonable whenever possible" [[[[[[[[[[[
]]I have a web page @: www.csra.net/chip/default.htm[[
]]]HoldsworthFloydKatek.d.SarahninEnyaQueenHendrixMcCartney[[[
]]MarshallIbanezRocktronADA|Atlanta Rhythm City tried to rip me off![[
NivenWGibsonChomskyLarsonRandPythonCleeseR.ScottKubrickGMarx
Hep hep! I'm in Purgatory! / Severely, Painfully Single
----------
Date: Sun, 22 Dec 1996 17:20:55 -0500
From: matt margolin
Subject: Holdsworth anecdote
I'm new to the newsgroup , so I thought I'd relate a little anecdote.
I was at Berklee in 1985-87, geting my ass whooped frequently and
getting turned on to new sounds all the time. I learned about Allan,
Robben Ford, Sco, et al, in a very short amount of time. Whoa.
Anyway, I was taking lessons with Bill Leavitt, when Metal Fatigue came
out, and although the entire album was rediculously intense, I feel in
love with the 'Devil take the Hindmost' solo, because it was featured
on a little floppy plastic record, that Guitar Player used to include
every month( I miss that feature).
So I figured I would turn on the Head of the Guitar department to this
emerging Guitar genius, and I brought a copy of the song to my lesson to
play for him. Upon listening to this beautifully lyrical, harmonically
advanced solo, Mr. Leavitt (Rest his soul)
said to me, " Sounds like a fiddle player." That was the depth and
breadth of his Holdsworth comprehension and appreciation,(or so it
seemed to me at the time).
That was it!!!
I switched teachers the next semester.
(I don't mean to speak disparagingly of Bill Leavitt, he was a nice guy
and helped me alot, although he chain smoked thru my lessons.)
I now play and teach on Long Island, New York, if there are any old
Berklee cronies reading this. Cheers!
Matt Margolin
Margolin@gte.net
----------
Date: 23 Dec 96 16:10:09 EST
From: "Mark D. Johnson" <103600.1063@CompuServe.COM>
Subject: Un-Merry-Go-Round
I was listening to The Un-Merry-Go-Round off of Metal Fatigue the other day and
was so moved by one of the chord passages, that I had to make an attempt to
learn it. For those with the CD, it starts at exactly 6 min. and 36 sec. into
the piece. Below is some crude, unmetered TAB of what I think the chords are
for this section of music. For actual articulation of the notes, please listen
to the recording first.
For those here who play guitar and make similar attempts at learning Alan's
music, please let me know where you think improvements could be made. As with
so much of Alan's chord structures, it was difficult for me to be certain if I
had all the notes due to the close intervals.
Hearing his music is a wonderful experience for me. Playing it takes me even
further!
Note: If the TAB below does not appear to be lined up, use a proportional font
such as Courier.
Mark D. Johnson
-------------------------------------------------
x = String not played
x x 7 x x x x x x 0 0 x x
0 7 8 5 3 2 0 7 7 0 x 4 2
3 9 11 7 6 4 3 3 4 2 1 6 5
1 7 x 5 4 2 1 6 5 4 4 4 3
x x x x x x x 5 x 4 3 x x
2 8 7 6 5 3 2 x 7 x x 5 4
x x x 8 7 5 5 9 16 16 x x x
6 9 9 8 7 5 5 6 12 12 8 5 5
6 8 9 11 9 8 6 8 14 14 5 8 6
6 11 9 x x x x 6 12 11 9 6 5
9 8 12 12 11 9 9 x x x x x 6
6 x 9 x x x x x x x x 7 x
x x 7 x x x x x x 0 0 x x
0 7 8 5 3 2 0 7 7 0 x 4 2
3 9 11 7 6 4 3 3 4 2 1 6 5
1 7 x 5 4 2 1 6 5 4 4 4 3
x x x x x x x 5 x 4 3 x x
2 8 7 6 5 3 2 x 7 x x 5 4
x x x x x x 12 x x x x x x
7 9 9 14 12 12 13 10 8 8 8 8 x
8 11 10 16 11 14 16 12 11 11 11 5 x
11 11 13 16 14 12 x 10 9 10 9 7 5
9 x 11 x 11 x x x x x x x x
x 10 x 15 x 13 12 11 10 11 10 8 3
----------
Date: Mon, 23 Dec 1996 15:40:27 -0600
From: Tony Hubert
Subject: Umerry Go Round
> I had never heard anyone comp (play chord
>changes for non-musicians) like Allan. In fact, I find his use of chords as
>interesting (or more interesting) than his solos.
His use of volume pedals to get that smooth, swelling orchestral sound I'll
never forget. IOU seemed to me to have a poignancy that was nearly matched
by The Unmerry-Go Round, from Metal Fatigue. I love the structure of
Unmerry-Go Round; he maps the whole song with the synthaxe, then solos over
the structure with straight electric guitar and delivers one of my favorite
Holdsworth solos; there's that one section that just kills me, where over a
god only knows what chord he delivers this incredible ascending, descending
run...It sounds like a hammer-on, but I don't think it is. I'd listen to
just that run over and over; I'd heard something like it before in the music
of Debussy and Ravel but never heard a guitarist play a scale like that.
----------
Date: Tue, 31 Dec 1996 18:57:38 -0800
From: Francisco Pablo Espinoza Estrada
Subject: I'M MALE AND I'M PHENOMENAL !!
HOWDY HOLDSWORTHIAN FEMALE AND MALE PHENOMENA,
Last time we met, Jens =91keyboards for breakfast=92 Johansson wrote:
>If I'd hazard to guess whether Wynton Marsalis or Allan Holdsworth will be=
>remembered a hundred years from now as one of the great innovators of the
>late 20th century.. hmmm.... well... sorry, Wynton! :)
Well, I guess there won=92t be many Marsalis gigs for him in 1997 !! :(
He also asked the trillion pesos question:
>"What is Jazz? -- If you have to ask, you'll never know."
After years of hard work and profound meditation, I have come up with the =
answer: JAAZZZ IS THE SOUND OF THE WIND THAT BLOWS THROUGH THE WINDOWS OF =
THE SOUL.....
Kevin Walker said:
>I had never heard anyone comp (play chord
>changes for non-musicians) like Allan. In fact, I find his use of chords =
>as interesting (or more interesting) than his solos.
More proof of innovation here !! Allan=92s chords are his own, even though =
I=92ve heard some late Mahler which resembles Allan, not only in the harmon=
ic =
structure but in the way he uses volume swells. If Allan did a guest =
appearance on someone=92s album as rhythm guitarist, I=92d still call that =
=91the =
new Holdsworth CD=92 !. I=92ts a real shame that more people haven=92t expl=
ored =
his comping concept as they have studied his lead playing. (Is this because=
=
lead playing is more show-offy, or easier to grasp ???? You, holdsworthian =
freakoids, be the judges !) Sometime ago I lent my copy of =91Just for the =
Curious=92 to a classical piano professor at the local University, and he w=
as =
surprised by Allan=92s originality when it comes to chord voicing =
construction. He also used the words =91big=92 and =91beautiful=92 to descr=
ibe his =
chord sequences. There=92s the Bill Evans connection !!
Cyndy proposed the following solution to female anti-Holdsworthianism:
>Yeah! Drag her again. Somethings take a while to 'get'. :)
Yeah man !! Try draggin=92 her by the hair, or better yet, by one foot !! A=
nd =
keep her quiet with some duct tape !! That way, she=92ll develop a great lo=
ve =
for Allan=92s music ! :) , indeed
Tony wrote:
>I told my girlfriend that Paco DeLucia, Al
>DiMeola and John McLaughlin were touring again; I had a gleam in my eye
My dear friend Chappy, who=92s a PolyGram exec., went to see them the other=
=
day. As the record company man, he got to hang out with them, before and =
after the show. The three barely talk to each other. McLaughlin is the =
English Gentleman, sharp dressed, very well combed whitey hair and an ego =
worth a Million Sterling Pounds. When my friend came into his dressing room=
, =
McLaughlin was looking at himself in the mirror, combing his perfect hair, =
and he didn=92t stop doing it while he talked to him.(by the way, Johnny, =
electric guitarist, digs Bill Frisell !! Frisell kicks ass !!) DeLucia is =
the reclusive, tanned skin, devilish looking, long haired and bearded GYPSY=
=2E =
When my friend came into his dressing room, Paco was enjoying a moment with=
=
this big, unbelievably gorgeous brunette (to quote him). DiMeola is the =
friendly guy, very nice and all-American in every way. When my friend came =
into his dressing room, he received a warm welcome which included some =
petit-bouchettes. Al was joking all the time, dashing and debonair, and =
without doubt the most =91show-biz=92 of the three. (You can easily tell wh=
y Mr. =
McLaughlin can=92t stand him too much). And what about the music ? Well, =
according to my friend, Paco was, by far, the most musically deep and =
virtuosic. He played this extraordinarily beautiful solo piece that left hi=
m =
in coma for a few seconds. (The Holdsworth of the acoustic ? Probably !). =
McLaughlin was, as always, consistent, harmonically complex and all, but =
lacking that emotional power that pours when Paco plays. DiMeola was, sadly=
, =
the weakest in musical terms (You wish the nicest guy was also the best =
player!). He played those annoying scalar triplets all night long, and he =
played them not even half as articulately as he played them ten years ago. =
But the crowd didn=92t care, in fact, Di Meola was the best received, =
specially when he went the theatrical way, waving his arms after playing =
fast runs, making passionate faces and telling the audience how much he =
loved them and their marvelous country ! I don=92t know if having all this =
show is important for a musician, but it certainly payed off for Al !!!
Leslie wrote:
>I am a female and have gotten some surprised looks or statements from male=
s =
>when I speak of Allan or share his music with them (If they had not heard =
>him before). They seem surprised that "I get it".
I=92m not surprised of you being touched by Allan, because he captures my =
whole self emotionally too !! And I close my eyes and float into his world,=
=
just as you do !! And I=92m new on the mailing list, just as you are !! (Co=
uld =
this be magic ????)
Finally, has anyone out there bought Gary =91basses for breakfast=92 Willis=
=92 new =
solo album. I would like to read a fan review of it, although I=92m buying =
it =
anyway !!!! Gary rules and he=92s a nice guy too ! I met him backstage when=
=
Tribal Tech came to Chile in =9194. By the way: Does anybody know what=92s =
up =
with Scott and the boys ??? =
Take Care. Chaolin !
H A P P Y N E W Y E A R T O A L L ( A N ) !!
----------
Date: Mon, 30 Dec 1996 12:26:27 -0500
From: Gary Davis
Subject: Gary Willis IRC Chat
Hi Jeff and everyone else:
As many of you know, Allan's latest album features an incredible jazz
bassist named Gary Willis. The Artist Shop
will be hosting an IRC Chat with Gary Willis on Wednesday, January 8 at 9pm
eastern time. The server for this chat will be . The
channel will be <#ArtistShop>. Gary Willis is also a solo artist on Alchemy
Records and a long time member of Tribal Tech with jazz guitarist Scott
Henderson. Gary has just released a new solo album on Alchemy Records
called "No Sweat." He'll be taking questions on his new album as well as his
work with Allan Holdsworth, Tribal Tech and more.
For those of you who may be on AOL and who have never accessed IRC from AOL,
from the IRC page at The Artist Shop you will find links to download the
appropriate software as well as a link to detailed instructions as to how
AOLer's can access IRC. I hope some of you can make it. Should be a fun time.
Gary Davis
**************************************************************
Gary Davis
The Artist Shop The Other Road
http://www.artist-shop.com OtherRoad@aol.com
SUPPORT THE INDEPENDENT ARTIST!!!
**************************************************************
----------
Subject: What?
From: lmiller7@juno.com (Leslie J Miller)
Date: Wed, 01 Jan 1997 22:32:51 EST
...I like a friendly debate as well as the next person, but the arguments
about the way Allan Holdsworth should sound are getting a tad bit silly.I
belive in having an opinion and personally do not get offended about how
a person perceives or interprets a musician. I love to read and respond
to different opinions. This makes discussion fun....What is not fun are
fights over nothing.Let's not get "Metal Fatigue" over who or what Allan
should be like. Bounce off personal opinions, but let's keep it fun. (I
wonder what Allan thinks of this...Probably gives him a chuckle to think
that people carry on so about him!) There is so much to share and say
about him and this site should be that..Not a "war zone".
Before e-mail I communicated with fans of bands I like and it was fun.
And yes, there were those one or two who took it way too seriously and
would get in "snits". (Get mad at me or other fans, never write,etc.) If
that happens I say so be it! Just leaves more room for the interesting
and fun "stuff".Humm...when I finish I think I will play "None Too Soon"
and "IOU simultaneously...Maybe then I will understand what Allan
is suppose to REALLY be about(if my mental state can live through that!!)
Or better yet play Allan's music backwards to see if he has a hidden
message as to who he is musically about...No? Keep trying...
Phenomenonally Female
And still getting it
Leslie
----------
Date: Wed, 08 Jan 1997 14:35:49 -0500
From: David Motes
Subject: Top Ten list?
Why didn't we do the usual top ten CD list of 96?
No one to suggest it? Well I am, and I am working
on my list now....
I need some suggestions for new music...
-David
----------
From: Jeff Preston
Subject: Looks like a tour is shaping up
Date: Sat, 11 Jan 1997 19:32:16 -0600
Just got the latest Carvin catalog, which states that Allan
will be performing with a new band at the NAMM show next week
(1/18/97... is this in Anaheim, CA?), the members of which
are "a closely guarded secret." Maybe that's why I haven't
heard from Allan or Claire in months! :-/
The blurb in the catalog goes on to state that "a world tour
is booked for '97," so hopefully Allan, Claire or Akira will
be letting us in on the scoop soon.
T-shirts: All have been shipped (except for one gent, who
ordered three -- I now have the other XL shirt, and will send
it Monday), and should have arrived by now. Due to underwhelming
sales, and a much-longer-than-anticipated product cycle, I do
not think we'll be doing this again.
Jeff
----------
End of Atavachron Digest
Send postings to: atavachron@webster.com
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Web page: http://www.addimension.com/holdsworth/
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http://www.carvin.com/hldswrth.html
Date: Sun, 19 Jan 1997 17:31:02 -0500
From: owner-atavachron@jabular.webster.com
Apparently-To: atavachron-outgoing@jabular.webster.com
To: JEFF@ADDIMENSION.COM
The New Atavachron Digest 97/01/19
Sender: owner-atavachron@webster.com
Precedence: bulk
Reply-To: Jeff Preston
----------
Date: Sun, 12 Jan 1997 01:42:15 -0500
From: Captain Liberal
Subject: Re:
>
>Date: 23 Dec 96 16:10:09 EST
>From: "Mark D. Johnson" <103600.1063@CompuServe.COM>
>Subject: Un-Merry-Go-Round
>
>I was listening to The Un-Merry-Go-Round off of Metal Fatigue the other
day and
>was so moved by one of the chord passages, that I had to make an attempt to
>learn it.
A full and accurate transcription appears as a part of "Reaching for the
Uncommon Chord."
Jeff Seltzer
-------------------------------------------------
The opinions voiced herein DO represent the views
of the management of Wardenclyffe Technology Ltd.
-------------------------------------------------
----------
Date: Sun, 12 Jan 1997 01:42:17 -0500
From: Captain Liberal
Subject: Re:
>
>Date: Mon, 23 Dec 1996 15:40:27 -0600
>From: Tony Hubert
>Subject: Umerry Go Round
>
>IOU seemed to me to have a poignancy that was nearly matched
>by The Unmerry-Go Round, from Metal Fatigue. I love the structure of
>Unmerry-Go Round; he maps the whole song with the synthaxe, then solos over
>the structure with straight electric guitar and delivers one of my favorite
>Holdsworth solos;
Terrific solo yes; SynthAxe no. To the best of my knowledge, no SynthAxe
was used on the "Matal Fatigue" recordings.
Jeff Seltzer
-------------------------------------------------
The opinions voiced herein DO represent the views
of the management of Wardenclyffe Technology Ltd.
-------------------------------------------------
----------
From: efreedm@hzsbg01.nl.lucent.com
Date: Sun, 12 Jan 97 13:12:05 +0100
To: owner-atavachron@jabular.webster.com
Subject: AH in Europe March '97
I haven't details of of other dates/venues in Europe yet but Holdworth will
be playing here in The Hague, The Netherlands, on the 13th of March. I
managed to put a local club owner here in touch with the booking agency.
[ Moderator's note: The itinerary is coming soon -- Claire's asked
me to wait until the dates are confirmed before posting them on
the list/Web site. --JP ]
Elliot Freedman
----------
Date: Sun, 12 Jan 1997 04:24:29 -0500
To: owner-atavachron@webster.com
From: owner-atavachron@webster.com
Subject: BOUNCE atavachron@webster.com: Approval required
>From jeff@addimension.com Sun Jan 12 04:24:28 1997
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Date: Sun, 12 Jan 1997 10:20:03 +0100
From: ruud voerman <"rvoerman"@euronet.nl>
Reply-To: rvoerman@euronet, nl@euronet.nl
X-Mailer: Mozilla 2.0 (Macintosh; I; 68K)
MIME-Version: 1.0
To: atavachron@webster.com
Subject: Looks like Tour 1997?
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Hi Jeff and everyone,
Here's some fuel to the flames;
I just heard that Allan will be playing in The Netherlands (Europe)
at 13-3-1997 and possibly another date too.
A guy from a Carvin music shop told me that Allan also would appear at
his shop to demonstrate his Carvin guitar.
There are no tickets sold for the concert yet.
I would like to hear from a Carvin H1 player,I haven't had a chance to
play one yet.
Ruud Voerman,the Netherlands.
----------
Date: Mon, 13 Jan 1997 16:21:15 +0100
From: Alex Townley Porsborg
Subject: Re: Concert in Denmark, Europe??
Get on the phone and get some info on that tour, please Jeff !!!!
I heard rumours about Allan playing in Denmark on February the 14 th.
The alleged Jazz House doesn't know anything about a concert on that
date !!! Looking forward to hearing more about this subject.
Alex
----------
Date: Mon, 13 Jan 1997 10:31:53 -0500
From: Bob Lynch
Subject: Re:
>I'm new to the newsgroup , so I thought I'd relate a little anecdote.
>I was at Berklee in 1985-87, geting my ass whooped frequently and
>getting turned on to new sounds all the time. I learned about Allan,
>Robben Ford, Sco, et al, in a very short amount of time. Whoa.
>Anyway, I was taking lessons with Bill Leavitt, when Metal Fatigue came
>out, and although the entire album was rediculously intense, I feel in
>love with the 'Devil take the Hindmost' solo, because it was featured
>on a little floppy plastic record, that Guitar Player used to include
>every month( I miss that feature).
>So I figured I would turn on the Head of the Guitar department to this
>emerging Guitar genius, and I brought a copy of the song to my lesson to
>play for him. Upon listening to this beautifully lyrical, harmonically
>advanced solo, Mr. Leavitt (Rest his soul)
>said to me, " Sounds like a fiddle player." That was the depth and
>breadth of his Holdsworth comprehension and appreciation,(or so it
>seemed to me at the time).
>That was it!!!
>I switched teachers the next semester.
>(I don't mean to speak disparagingly of Bill Leavitt, he was a nice guy
>and helped me alot, although he chain smoked thru my lessons.)
>I now play and teach on Long Island, New York, if there are any old
>Berklee cronies reading this. Cheers!
I am an old Berklee cronie, although I was there 77-79. Bill Leavitt was
also one of my teachers, and it was at that time that I was just beginning
to get into Allan and his music. Bill was about as "from the old school" as
you could get. He put a tremendous amount of effort and work into the
Berklee guitar curriculum, and cultivated many a young guitar slinger. I
could not get him to say anything positive about AH, and I had played some
Tony Williams and Jean Luc Ponty tunes for him. To Bill, Allan was a
rocker, and they all sounded the same to him. He did appreciate my love for
John Abercrombie's playing, but I think it was because John had been a
previous student. Bill did a lot for the guitar in a completely different
area than AH. Wonder what he would think of NTS?
--Bob
----------
Date: Mon, 13 Jan 1997 11:27:32 -0600
From: "Mark C. Wood"
Subject:
>Date: Sun, 22 Dec 1996 17:20:55 -0500
>From: matt margolin
>Subject: Holdsworth anecdote
>I brought a copy of the song to my
>lesson to play for him. Upon listening to this beautifully lyrical,
>harmonically advanced solo, Mr. Leavitt (Rest his soul) said to me, "
>Sounds like a fiddle player." That was the depth and breadth of his
>Holdsworth comprehension and appreciation,(or so it seemed to me at
>the time).
>That was it!!!
Sounds like an astute guy. Holdsworth has said before that
his guitar playing was influenced by his violin playing. Some of his
fingerings, his wide intervals and his vibrato all come from violin
technique.
>Date: 23 Dec 96 16:10:09 EST
>From: "Mark D. Johnson" <103600.1063@CompuServe.COM>
>Subject: Un-Merry-Go-Round
>I was listening to The Un-Merry-Go-Round off of Metal Fatigue
>Below is some crude, unmetered TAB of what I think the chords are
This tune is transcribed in Holdsworth's book, Reaching for the
Uncommon Chord. You might want to check out the Atavachron web
site for ordering information.
----------
Date: Mon, 13 Jan 97 18:13:24 PST
From: "Hoard, Chris"
Subject: Journal Notes/NAMM Show Preview...
Notes from Hoard's Journal...
Upon a visit to The Brewery last Friday night, we were served up the
usual fine fizzbusted ale and there was a TGIF first -- a small
private rehearsal performance of six or seven tunes from AH's set in
duet with a phenomenal LA bass talent, Dave Carpenter. Anyway, I
noticed a number of Atv. contributors mention of Gary Novak as an
obvious choice to work with AH -- well, it's more than obvious, and
it's not out of the question that this will happen on some future
tour/record. Unfortunately, AH's new working band was to include
Novak -- who'd been involved in rehearsals for the past month or so.
Allan was extremely excited about the sound and dynamic of this band,
but last Friday found out Novak apparently had other session
commitments he couldn't get out of, and had to bail out of the NAMM
gig. The big question now is, who will fill in at NAMM?
Carpenter and AH were in the nervous position of having to find a
drummer that could fill in huge shoes in no time. As I understand it,
they've found somebody willing to at least sit in for the NAMM show,
somebody exceptionally capable, and he's a master of the traps,
familiar to all. Anyway, those that can attend -- I think you'll be
quite impressed with Dave on bass (he plays electric, and I've seen
him play jazz stand-up with the likes of Branford Marsalis). Whether
this particular trio will continue beyond Saturday night's performance
is another question -- but I'll leave it for those on the list who
manage to attend to describe the event and it's outcome...
Claire did mention AH is planning another European tour sometime in
March, and that it is supposed to include his first performance in the
Czech Republic -- yes, the checks will be bouncing... CHEERS/CH
----------
Date: Tue, 14 Jan 1997 09:35:05 -0500
From: Gary Davis
Subject: Re: IRC Chat with Gary Willis
In the last Atavachron I had a note about an IRC Chat The Artist Shop was
hosting with bassist Gary Willis who played on Allan's latest album.
Unfortunately Atavachron didn't come out until three days after the event
was scheduled to happen so a number of you may have been disappointed to
miss it.
[ Moderator's note: Yes; sorry about that. My time has been at a
real premium these days, and I don't always get to read through
the postings as soon as they come in. With the level of posting
activity that Gary devotes to Usenet, I'd be surprised if anyone
here missed the announcement, but everyone please keep in mind
that in the future, time-sensitive posts really need to be "cc:'d"
to my personal address to insure that I read them in time. --JP ]
However, you've been given a reprieve. Gary had problems connecting that
night and the chat didn't quite happen. I later got a guilt drenched e-mail
from him with the subject header of "dog ate my modem" which offered several
reasons for his not making it, my favorite of which was:
>d. Accidentally logged on to #artistsexshop. Was occupied for hours.
>No one knew who Gary Davis was but several fascintating volunteers offerred
>to be Gary Davis for me since I kept asking.
>
Needless to say, we have rescheduled this event and we'll be chatting with
Gary on Wednesday, January 22 at 9pm eastern time. The server will be
on channel <#ArtistShop>. Gary will be giving away a copy
of his new Alchemy Records release, "No Sweat." For more details including
links to IRC software to download, go to our IRC page at
.
Gary
**************************************************************
Gary Davis
The Artist Shop The Other Road
http://www.artist-shop.com OtherRoad@aol.com
SUPPORT THE INDEPENDENT ARTIST!!!
**************************************************************
----------
Date: 15 Jan 97 11:20:11 +0100
From: "Pier Francesco MARINI"
Subject: ITALIAN TOUR?
Hello Atavachronians friends,
I heard that Allan will be in Rome next March, 24th and 25th at BIG MAMA club
(where he has performed last years). They have already included this event in
their official program! (BTW it includes also Tribal Tech in April).
Anybody knows if this is true? I have read Jeff's last posting about an
hypothetic '97 tour, maybe the dream to see again Allan here will come
true... We are touching as more wood as possible!!!
All the Bests,
______ ______
_ / ___/
___/ __/
__/ier __/rancesco MARINI (pmarini@it.oracle.com)
----------
From: Steve_Vaughan@ilink.demon.co.uk
Date: Wed, 15 Jan 97 12:13:14 GMT
Subject: Mulford MacFarlane band.
Hello all.
This is a brief (non-related) note for the benefit of UK members only.
Last night I checked out a British band I thoroughly recommend, the
Mulford/MacFarlane band. Malcom MacFarlane is a teriffic guitarist who
I'd been hunting down for some time (sorta Wayne Krantz?). I wasn't
disappointed. The bass player, Phil Mulford is also pretty talented,
playing electric 6-string fretted and fretless bass.
The music was quality jazz fusion. Check them out if they're in your
area.
Advertisement over!
Steve Vaughan.
(PS I don't represent or know the band in any way - I just thought
you'd appreciate the tip!)
----------
Date: Wed, 15 Jan 1997 15:12:52 -0500
From: David Motes
Subject: Top 10 List
Here's my top 10 list for 96. I wanted to
put more time into it but work wont allow.
These were acquired in 96 I dont think many were
released in 96 but who cares?
No particular order
1. Allan Holdsworth None Too Soon ( of course )
It gets better everytime I listen to it.
2. Miles Davis Live Around The World
I did not like much of Miles later stuff
but I really like this.
3. Kenny Garrett Pursuance: The Music of John Coltrane
Great sax work
4. Percy Jones Tunnels
Kind of like early Tribal Tech but much more
intense. Great Bass work.
5. Stanley Turrentine T Time
Nobody is smoother on sax.
6. Jonas Hellborg Group E
The bass and organ playing are great but
the drums are amazing. This is one of my
most listened to CD's.
7. Jonas Hellborg Abstract Logic
Great guitar work by Shawn Lane.
8. Michael Shrieve Two Doors
More Shawn Lane and also Bill Frisell
9. John Coltrane The Complete Africa/Brass Sessions
Coltrane was light years ahead of his time.
10. Rahsaan Roland Kirk Warner Archives
Bizarre set of songs from one of the greats.
BTW - I mentioned AH's new release on the Miles Davis
list hoping to get some feed back from jazz types.
Most with an opinion of AH think he is DULL and
BORING. Go figure....
-David
Also here is Dick Heath's list sent to me, with some interesting stuff..
Further to your letter in the latest Avtav Dig, I'm all for your
purposal.
However, I hope you get more response than I have had to similar schemes
in
the past.
Presuming you're US based, you may note some (apparently obscure)
European
bias in my list below. To be honest beyond my top three, the list of
records
don't deserved to be given in any precise order as suggested with this
cold
list, therefore I have ended up with several 8=. In putting my list
together the following criteria has been applied:
a) memorable tracks, (I'm afraid I can't find an album of which all the
tracks are memorable);
b) what I've played a significant number of times during 1996,
(therefore
material released before 1996 is included). Further I have probably
spent
more time listening to re-released rock/pop/blues albums in 1996, since
little jazz/jazz-oriented has grabbed me by the throat (or any other
part of
my anatomy);
c) startling innovation, (again not much of this in year, a year starved
of
good, new music);
d) happy teaming up of musicians, leading to some fireworks, (in fact
too
much resulting in damp squibs).
So to the list (FX: sound of trumpet fanfare):
1. Wayne Krantz: "Two Drink Minimum" (Enja).Just love his refreshing
playing
in a powerhouse trio of sorts.
2. Caveman Hughstore (Canterbury's Hugh Hopper meets Oregon's Caveman
Shoestore) - I've just discovered this on an obscure US indie label,
although released earlier in the 90's. One of those albums, the music of
which defies classification.
3. Jan Garbarek: "Visible World" (ECM) . Beautiful recording and
compositions.
4. Michael Shrieve; "Fascination" (CMP). Alright, this was released some
time before 1996 but still an adventurous record, I've played many
times.
Enabled me to recognise Bill Frisell properly as a star guitarist.
5. Nguyen Le: "Tales From Vietnam" (ACT) - an artist who occasionally
sounds
like AH (Kazami Watanabe also nods in the same direction, again
suggesting
Far Eastern music can be played sympathically by AH????). An excellent
hybrid of Eastern and jazz music.
=6. John McLaughlin: "The Promise" (Verve). Tracks with Jeff Beck and
Michael Brecker have some sparks flying although a little too much
mediocrity elsewhere.
=6. Shaun Baxter: "Metal Jazz" (SB Label, originally ZOK). London based
guitar teacher again showing metal can be employed in fusion (cf John
Goodsall and Firemerchants). The publicist's claim that this represents
Charlie Parker meeting metal has some truth.
8=. Allan Holdsworth: "None Too Soon" (Cream). At last somebody has got
AH
away from playing his non-memorable tunes and to what he does best,
interpret others compositions - and I feel it swings enough for me (I
don't
want to put my back out!!!).
8=. Paradox: "Paradox (TipToe-Enja). A recent release featuring Cobham,
Bickford and Schmidt and at last Cobham sounding considerably less tired
than for a long long time - and this is my first introduction to
Bickford
and I'm impressed. Needs more plays before saying it may be one of my
albums of '97.
8=.Gateway (i.e Holland, Abercrombie, DeJohnette): "In A Moment" ECM.
Claimed to be outtakes from their last album, but still memorable jazz
in
typical ECM housestyle.
8=. Allan Caron: "Rhythm & Jazz" (Dreyfus?). France's answer to Jaco
Pastorius. Much better than his first record "Le Band", with him
developing
a more distinctive sound.
8=.Susan Weinert Band: "Bottom Line" (VeraBra). Another album sounding
much
better than the previous one. An artist to be thrown into the debate
about
AH and whether he has prodominantly male following - several tracks are
real
tributes to AH.
8=. Jasper Van't Hoff: "Blue Corners" (ACT). Wayne Krantz here as a
session
musician and an album of wide compositional and playing variety.
As I have been guarded about including re-releases, I have not included
the
two following albums (which would otherwise come into my 10): both known
to
be variants of the qwerky British fusion first released in 60's/70's:
Soft Machine: Live at the Paradiso Club". A bootleg which has become
legit
and from the period of SM 2; clearly demonstrating the missing link
between
rock and jazz.
If: "Forgotten Roads" (Sequel). Probably the best brass-rock or (rock
-jazz)
groups, many of the guys here moved on to more jazzy things, e.g. Dick
Morrisey is found on the iffy Soft Machine "Land of Cockayne".
May I also say I am disappointed that the following artists didn't have
a
release in the UK in 1996 but should have done:
Gary Lucas (although he is tucked away on a couple of tracks on Joan
Osborne's latest record).
Birelli Lagrene: French artist who used to shine.
Jonas Hellborg: has now established himself as my bass-governor, with
Jaco
Pastorius long dead. Alright, he's played some subdued stuff on Michael
Shrieves "Two Doors".
My most disappointing albums of 1996. Why don't you have a top ten of
reader's favorite stinkers of 1996 - alright this list only included
three:
3. Tony Williams: "Wilderness" (ARK). With such a dream line-up
(Williams,
Clarke, Brecker, Hancock, Metheny), how come such subdued playing and
insiped tunes for the most part (although on "Gambia" they wake up and I
almost forgive them - there's time yet) - perhaps it comes from a
preponderance of Williams' compositions and the pretention of those
compositions for mini classical orchestra. And for Christ's sake Metheny
(and whilst we're about, Holdsworth) stop playing the bloody guitar
synthesiser, do what you do best. and get somebody else in to play a
proper
keyboard, trumpet or harmonica. Since I only got this album as a present
for
Christmas 96 I willing to try it some more but it could be destined for
the
box in the loft.
2. David Torn "What Means Material, Stranger?" (CMP). You well may ask,
since this album has become immaterial over the last 9 (?) months
following
its release and disappeared into the loft. The second true solo album
from
Torn and even more cachophonous than "Tripping Over God". He has moved
from
enjoyable discordant innovation , which was found to enhance tracks on
Everyman Band and his ECM recordings, to total discordancy which tears
at my
nerves - perhaps this is what it is supposed to do, but no thank you.
1. Herbie Hancock "New Standards" (Verve). Like the "Wilderness" album,
on
paper the line-up is a dream band, i.e., Hancock, Brecker, Holland,
DeJohnette (?), Scofield. However, restrained to the point of putting
the
listener to sleep. My Nirvana-freak daughter had trouble recognising the
Kurt Cobain composition and the rest of the "new standards" stank. The
CD
now resides in box in my loft since it was taking up too much space on
the
shelf.
Finally my real album of 1996 is Paul Lamb & The Kingsnakes: "Fine
Condition" (Indigo) which has excellent Chicago blues style playing
recorded live by guys from Newcastle-upon-Tyne, England. It also happens
to
be the BBC favorite blues album of 1996. The harp playing (by Paul
Lamb),
owes less than the usual to Little Walter, Shakey Horton(?), Sonny Boy
Williamson (the younger one) and other Chess label harpists, than many
other
blues recordings in the last 30 years and the guitar playing is also
most
excellent. By the way look out for Lester Butler and 13's "13", released
in
the UK in mid-Febrary 1997; this blues album recorded in California is
searing and have all the roughness necessary for a good blues recording
which Robert Cray's lacks.
That's it. I hope not too much rhubarb for your eyes but I do like to
inform
others about music that is rarely discussed/described in the music press
or
played (at least) on (UK) radio.
Let me know how things go.
Regards,
Dick Heath
----------
Date: Sun, 19 Jan 1997 01:34:03 -0800 (PST)
From: The Man Himself
Subject: AH at NAMM
Just got back from seeing AH perform at the NAMM show this evening.
First of all, now that the gig has happened, I assume the veil of secrecy
regarding his new ensemble can be lifted. Actually, however, it may still
be up in the air.
I first heard about the personnel for AH's new band about two months ago:
it was to be a trio consisting of Dave Carpenter on bass and Joel Taylor
on drums. Carpenter is a veteran of Sott Henderson and Mike Stern, among
many others, and Joel Taylor played with AH during a week's stint at the
Catalina Bar and Grill in November of 1994. I personally was excited to
hear about this, for two primary reasons: it signaled a move away from the
keyboard-heavy sound that's dominated AH's music in recent years (which I
personally am not enamored by), and it suggested a more earthy sort of
rhythmic grounding than is generally present in the music. (When I saw
Taylor play with AH two years ago, his drum parts for the set list often
took a more funk/rock derived approach than the more ethereal
methodologies favored by Gary Husband or Chad Wackerman).
It seemed fairly clear that Taylor would be the drummer for the gig; his
name was even printed on the VIP passes to the show, alongside those of
AH and Carpenter. I'm not clear on exactly what happened, but at the
show tonight Taylor did *not* perform with the group, even though he was
present at the gig, and in fact standing at the side of the stage.
The drummer for tonight's gig was Peter Erskine, who I assume most of you
are familiar with through his work with Weather Report and other groups
since then. Erskine apparently began rehearsals with AH for this gig
three days ago (on Wednesday), but it certainly wasn't readilly apparent;
the group meshed seamlessly.
Carpenter's playing was very impressive; not only did he ably fill the
shoes of such predecessors as Berlin, Willis, and Sverisson, but, using a
six-string bass and some rather sophisticated technique, he filled the
role of keyboardist as well, comping chords and playing bass lines
simultaneously. With Carpenter and AH comping behind one another's solos,
there was never any conspicuous lack of harmony. Erskine, of couse, was
masterful.
The music? A mixture of older material ("Letters of Marque," "Funnels,"
"Looking Glass," "Water on the Brain," plus a soundcheck-only version of
"Countdown") and new tunes apparently written for the trio, including a
ridiculously funky groove tune which could prove to be the heir apparent
to "Devil Take The Hindmost." Erskine and Carpenter proved a supple
rhythm section, shifting from funk grooves to jazz swing without batting
an eye. Hearing AH backed by either of these kinds of rhythmic
foundations was an unusual treat; hearing them morph from one to another
in the course of a single tune was breathtaking.
AH's playing was great, as usual, as was that of misters Carpenter and
Erskine. As has been mentioned already, it looks to be basically set
that the trio is about to embark on a world tour. Exactly who will fill
the drummer's chair for the tour? Stay tuned...
--Andre LaFosse
----------
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/
Sponsored in part by Alchemy Records
http://www.musicpro.com/alchemy/
Date: Sat, 25 Jan 1997 19:44:08 -0500
From: owner-atavachron@jabular.webster.com
Apparently-To: atavachron-outgoing@jabular.webster.com
To: JEFF@ADDIMENSION.COM
The New Atavachron Digest 97/01/25
Sender: owner-atavachron@webster.com
Precedence: bulk
Reply-To: Jeff Preston
----------
From: Steve_Vaughan@ilink.demon.co.uk
Date: Mon, 20 Jan 97 11:31:51 GMT
Subject: Euro Tribal Tech gig
Hi there,
Pier Francesco Marini mentioned Tribal Tech appearing at some Roman
venue. Anyone know if this is a European tour they're doing? Anyone
got a list of dates for this?
Regards,
Steve Vaughan
----------
Date: Sat, 20 Jan 1996 12:02:49 -0800
From: Spencer Seidel
Subject: Re:
>I now play and teach on Long Island, New York, if there are any old
>Berklee cronies reading this. Cheers!
I am an old Berklee cronie (90-92).
>I brought a copy of the song to my lesson to
>play for him. Upon listening to this beautifully lyrical, harmonically
>advanced solo, Mr. Leavitt (Rest his soul)
>said to me, " Sounds like a fiddle player." That was the depth and
>breadth of his Holdsworth comprehension and appreciation,(or so it
>seemed to me at the time).
>That was it!!!
>I switched teachers the next semester.
Well, at least when I was there they weren't all like that. I am, and
have been for a long time, a HUGE fan of Holdsworth. When I was at
Berklee, I was constantly experimenting with difficult and unusual
voicings, as well as that Holdsworth "total" legato style. Anyway,
before lessons I used to noodle around and one day my teacher exclaimed,
"Yeah! That's what you gotta do!", implying that experimentation was
essential to the creation of newer jazz sounds. He was a 60+ guy from
the old school, and yet had enough foresight to understand that Jazz is
not only Bop, but an eclectic collection of many different ideas and
sounds. Good stuff.
Some of the Berklee guys (professors) had little insight, however, like
Bill Leavit (nice guy though, as I remember. He died while I was at
Berklee.). I remember when I was there Gary Burton (you know, the vibes
player...), tried to have all of the "rock" teachers fired as well as
tried to eliminate all "rock" ensembles, etc. WHHHHHHEEEEEEEWWWWWWW!
Yikes.
-spence
----------
Date: Mon, 20 Jan 1997 09:18:49 -0600
From: Tony Hubert
Subject: I grok, thx
>Terrific solo yes; SynthAxe no. To the best of my knowledge, no SynthAxe
>was used on the "Matal Fatigue" recordings.
I stand enlightened on the "sans sythaxe" issue. If I had read my liner
notes (which I haven't for eight years) I would have remembered that. I
merely assumed because of the heavy synths that he was using the synthaxe.
Metal Fatigue had a powerful affect on me. The solos can send shivers down
my spine; when I first heard them it seemed like AH was bearing his soul, if
you will--naked and poignant. I think all guitarists (or instrumentalists,
for that matter) struggle with getting past technique to get to the real
heart of the matter: expressing oneself totally, lyrically, making it sound
"easy." it's one thing to learn scales and how to play fast; but there comes
a time when you become more concerned with composition and how a solo will
fit within a certain piece. Another Holdsworth song that has this quality
for me is "The Things You See", from IOU.
----------
Date: Mon, 20 Jan 1997 12:35:26 -0500
From: Vince_Leonberger@mail.sel.sony.com (Vince Leonberger)
Subject: Responses
TO Dick Health and David Motes and Andre' LaFosse,
I just want to say thanks for your list of music for 1997. I have
hardly anytime for that type of research any longer and it was
refreshing to see a list of artist that I will most likely find some
kind of common thread into the music which I enjoy. It was
enlightening.
Also, Thanks to Andre' LaFosse for information on musicians which
possibly will make up Allans new band. I also agree that it will be a
positive step adding a funk/rock rhythm drummer and easing up on the
keys. ( don't get me wrong, I love all the musicians, but getty yup!
time to move on)!
Thanks,
Vincent Leonberger
----------
Subject: What about a Holdsworth Convention!
From: lmiller7@juno.com (Leslie J Miller)
Date: Mon, 20 Jan 1997 18:17:28 EST
Hello!
Well... Things are really a buzz with rumor of tour dates ! I hope Allan
will include the US in his '97 tour as well! I would like to throw an
idea out for all fans to respond to. I thought that in the event that
Allan does tour the US, that it would be fun to have a convention.... An
Allan Holdworth Convention!The plan would be like this: Designate a
meeting point, in the United States, where he will be performing and
those who can attend,stay at a near by hotel where we will all meet ,
have a day of Holdsworth related events, then go as one large group to
see him perform. This would be something I feel all who are interested
could have some planning input on. Right now, I am merely interested in
conducting a poll to see how many would be interested in an actual Allan
Holdsworth Convention in the United States.Please e-mail your opinions to
lmiller@jono.com on this idea. I will keep everyone who is interested
posted on the poll outcome via this digest. If something should come of
this, I will be glad to help plan for it.Just something to think about!
Also to Francisco in Chiie:We are all Tokyo Dream(ers) when Allan is
playing.. There lies the magic...
To Johanna in California:"I know there is a treasure..here in this
place..." Thank you for such kind input.
until later...Leslie
----------
From: MrBERWELL@aol.com
Date: Mon, 20 Jan 1997 19:46:05 -0500 (EST)
Subject: top Ten for 1996
There was so much great music put out last year, I decided to compile a top
ten list of my own. In no particular order!!
-Jonas Hellborg, Shawn Lane, Jeff Sipe (Apt. Q258)
"Temporal Analogues of Paradise"
This was recorded live in Europe, and contains to pieces, "First Movement"
and "Second Movement". They are almost entirely improvised, altough they do
groove on some familiar motifs once in a while. Also, I really think Jeff
Sipe compliments this TRIO better than Kofi Baker or Mike Shrieve.
-Brand X
"Manifest Destiny"
Technically this isn't even out yet, but there were some promo cassettes
made, and they even sold some at their few gigs back in May. This is
incredible, the same lineup as on "X Communication", with the addition of
Marc Wagnon on midi-vibes. To me, this has a more "progressive" sound than X
Communication, and I would think would be a little more palatable by the
masses. We'll see...
-Wayne Krantz
"Two Drink Minimum"
INcredible guitarist, really original. I also like the raw sound of it, it
was recorded live at the 55 Bar, aka 55 Dive, in NYC.
-Trilok Gurtu
"Bad Habits Die Hard"
This is with the Crazy Saints band, featuring the great David Gilmore on
guitar (Lost Tribe, Wayne Shorter, Steve Coleman). It was also recorded
live, and has special guests Bill Evans and Mark Feldman.
-Michael Shrieve
"Two Doors"
As if the first half with Jonas and Shawn Lane wasnt enough, the second half
features Frisell and Horvitz, and was taken from the "Fascination" sessions.
-Masada
"Vav" (6)
John Zorn's latest band, which is probably the most straight ahead thing he's
done in a while. The popular description is "early Ornette Coleman quartet
meets Klezmer..." He really proves himself to be a helluva sax player. And
they can swing HARD!!
-Third Rail
"South Delta Space Age"
James Blood Ulmer, Bill Laswell, Bernie Worrell, Ziggy Modeliste, and Amanda
Myers. This is pretty funky, but with that avant garde Ulmer/Laswell touch.
-Vernon Reid
"Mistaken Identity"
This is Vernon's band Masque with a great linuep, and interesting
instrumentation. And the tunes are catchy as hell!
-Dave Douglas
"Tiny Bell Trio"
This features Dave on trumpet, Jim Black on drums, and the great unheard of
guitarist Brad Shoeppach. I think people here would dig this.
-Allan Holdsworth
"None Too Soon"
No description necessary!!
____
Also thanks to Dick Heath for his great top ten list. I was unaware of the
"Paradox" recording with Cobham. And I assume that Bickford is Bill
Bickford, he is another great unsung guitarist, he used to play with Defunkt,
and put out a cd with Kim Clarke and Bruce Ditmas, under the band name
Bigfood, the cd was "Semi Precious Metal". (Only it would have sounded
better if Ditmas was on acoustic drums!)
----------
Date: Mon, 20 Jan 1997 21:48:15 +0500
From: Janna Ellen
Subject: Re:
To anyone and everyone on this list:
Holdsworth's work on "Hard Hat Area" is his finest to date. This is
my true belief. I have not heard his latest release becuase the stores
around here have never heard of him. I hope that Holdsworth has plans to
play shows along the east coast. His transcendental guitar playing has
rocked my stereo (this album) for at least 16 months non-stop. Since then I
have acquired Secrets which was just bad. I mean, the compositions weren't
as strong or thoughtful as on "Hard Hat Areea" the album I consider classic.
I have also had the opportunity to listen to/own the instructional video and
his first release which I can't bother to remember. Also, I own the Mark
Varney Project featuring Holdsworth and glam? player/smooth jazz guitarist
Frank Gambale. I really got into this album. It is mind boggling to listen
to and ineffable to describe. Holdsworth is a finess player and knows no
bounds in his search for untouched sound scapes. What I really want to find
out is if Holdsworth can tremola pick. Not that he needs to to convey his
ideas. I am just curious. Has anyone heard of Medeski, Martin, and Woods?
I heard them on a Phish bootleg. They are comprised of an organist,
bassist, and drummer. The tune I heard was a cover of "Giant Steps." I
also have a query about jazz in general. Why do people always cover
standards? Is it to gain respect within the community? To kill time during
a set? Also, does anyone dig RTF? Hopefully, this forum is open to all
jazz and new and exciting music. If not, please tell me and I will try to
confine my comments/opinions/adoration to my favorite guitarist. Also, on
Hard Hat Area, the second songs chords sound really cool and there is no
question how great the solo work is. If you are unfamiliar with the album,
BUY IT! There is tolerable synth-axe work, or is that the keyboard?, and
the rest is just uncompromising soloing which is so fluent, so musical that
I will never look at the fretboard the same way. Another question, uh,
maybe this is too long. I'll write later...
Mark F. Duerr
----------
Date: Thu, 23 Jan 1997 23:35:14 +0100
From: henrik.lundberg@gnesta.mail.telia.com (Henrik Lundberg)
Subject: It's a miracle...
YYYYYYYYYYEEEEEEESSSSSSSSSSSSS!!!
It's incredible!
AH jams with Novak and gigs with Erskine...
I have critizized AH for his choice of drummer on "None too soon", and have
mentioned that he would choose a drummer like Gary Novak.
Now, Allan jams with Mr Gary Novak. But when Novak has other commitments
Allan calls Peter Erskine to stand-in in a live situation.
Allan IS God!
If I've knewed that they would perform at the NAMM show, i probably had
bought a 600$-flight-ticket, and get over the ocean here from Sweden just
for the purpose of seeing and hearing Erskine play with Holdsworth.
Oh, man...
I'm so jelous..
I pray to God, AH gets Novak or Erskine with him on a europe-tour, but it
would be too good to be true....
- Henrik
----------
Date: Fri, 24 Jan 1997 09:23:52 -0500 (EST)
From: Polar1@aol.com
Subject: letter to my friends
my fellow atavchrons,
let's face it,
one of the killer things about allan is his chordal thing.
his chords and progressions are unlike anyone else....
obviously his soloing is of major, substansial significance but for me it's
all set up by his changes and the way they move...
his chords and progressions are like pieces of gold that someone went into a
deep mind and brought back for the rest of us to see and hear..
god bless him...
the world's a better place for his search,
jim
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Date: Fri, 24 Jan 1997 21:20:45 -0800
From: Francisco Pablo Espinoza Estrada
Subject: THE TARANTULA SWINGS !
HOLA HOLDSWORTH-OBSESSED-HUMANOIDS !
Sometime ago, CLAY MOORE , posted this
message in rec.music.makers.guitar.jazz. This should be enough proof that
not all 'trad' jazzers are as close minded as Mr. Leavitt:
> About 17 years ago, I was one of about 20 people taking a three-day "Joe
> Pass Seminar" conducted by, of course, Joe Pass. I attended with a friend
> of mine, and we had the only two solid-body guitars in the room.
>
> At some point on the third day, Joe apparently got a little tired of the
> attitude that standards, played in the "Joe Pass" style, were in and of
> themselves were the only thing to play. Here's a paraphrase:
>
> "Look. When I was your age, all my friends and I did was play the music
> that was around at the time. We all played about the same way. The only
> reason I'm here today is because they eventually stopped playing, and I
> didn't.
>
> "You guys are going about it all wrong. You guys should be playing the
> music that's happening now. There are lots of good players out today.
> Allan Holdsworth is a great player."
>
> Getting blank stares from the guys with the Gibson ES-175s, he asked,
> "Anybody here know who Allan Holdsworth is?"
>
> I'd been pretty intimidated for three days; all these Joe Pass and Barney
> Kessel clones were pretty daunting. I had them now, though. I raised my
> hand and said, "Holdsworth plays with the Tony Williams Lifetime."
>
> Pass looked at me, and my guitar, and said, "Right. If you other guys
> want to have any future as guitarists, then go get a guitar like that
> one and buy some Holdsworth albums. Forget about playing like me."
[ Moderator's note: This was actually from a posting by Richard
Huddleston, to Atavachron, 3/25/95. --JP ]
Joe played Concepcion, Chile (my hometown) about two months before
his sad death. He was obviously great and very funny too ! He stopped in
the middle of the show, asking for requests! I asked him to play some
Coltrane... Had I known he dug Holdsworth, my request would have certainly
been different ! ('The things you see', perhaps ???) R.I.P. Joe !!!!
I would like to thank Gary Davis of The Artist Shop for organizing
the chat session with Gary Willis. It was a great opportunity to interact
with one of the great American Jazz musicians of our time !! I even won an
autographed copy of his new CD 'No Sweat' (with Dennis 'FONK' Chambers,
Steve Tavaglione and Scott Kinsey). Sadly, only five people came to the
chat. Where were you, holdsworthian freakoids?? I urge you to check out The
Artist Shop's page for future chat events !!! You'll find great independent
recordings and CD mail order too !:
http://www.artist-shop.com
I've got a question for you all! In a great interview of Allan
conducted in 1989 (Guitar World, May '89) by Matt Resnicoff, The Spider
said this, when asked about 'players who epitomize the proper way the
instrument should be played ':
" There's one English guy I admire who never gets any mention- Steve
Topping. There's a guy who's AMAZING. And it's typical of England that he
can't get out or get a deal or anything, because, like Gary Husband, he
suffers too much opposition to what's he's doing. Steve plays really,
really interesting harmonic lines- and definitely, absolutely, not bop. His
lines are so unusual that the bop guys would have a hard time figuring them
out (laughs). And he plays chords that I've never heard people play before.
He's got ridiculous chops- I've seen him demonstrate both left and right
hand facility, but he's got just outrageous right hand chops. He's got it
all covered. We had a band back in England called Handlebars: just him,
Gary, myself, and anybody we could get on bass. It was a really free thing
where we'd just GO, and some very interesting things happened, mostly
because of him. He has this unbelievable control of space ! "
DOES ANYBODY KNOW IF THIS GODZILLA OF THE GUITAR HAS RECORDED
ANYTHING ?????????? I simply can't believe someone who deserves this
opinion from God himself isn't well known. Let's get Steve 'WHA?' Topping
out of ANONYMOUSNESS !!!!
WE WANT TOPPING !! WE WANT TOPPING !! WE WANT TOPPING !!
Finally, I must say that I'm the most frustrated person in the
whole world for not having been that day at NAMM ! Erskine and Holdsworth
together.... That must have been something !! (They should record together,
shouldn't they ?)
That's all folks ! SEE YA !
Have a nice holdsworthian day !
Francisco Espinoza (franaesp@entelchile.net)
----------
From: edumark@ix.netcom.com
Date: Sat, 25 Jan 1997 13:28:28 -0800
Subject: Namm... damn!
Chronies:
For me, the Namm show -- or that fraction of it I witnessed Saturday
afternoon, was as usual sensory overload -- followed by mega sensory
pleasures.
I think there were only two rehearsals of the trio which appeared prior
to the set witnessed Saturday night. It was pure joy to see Peter
Erskine perform and interpret some Holdsworth standards we've been long
familiar with -- Letters of Marque, Funnels, and Looking Glass. Erskine,
fully capable of being as ferocious and aggressive as any drummer (well
maybe excepting Williams, Bozzio, Husband) demonstrated the full range of
his talents. The stage was in one of those huge square hotel convention
rooms -- and the walls were lined with people -- my guess is the crowd
numbered well over 7-800, and the response to the set was overwhelmingly
enthusiastic.
The big surprise for me was hearing David Carpenter on electric -- I had
heard him play an acoustic set with Kenny Kirkland and Branford before on
stand-up. He was absolutely great then -- but I have to say this guy is
more of a miracle worker on his instrument than any one I've seen perform
with AH since Jeff Berlin or Stanley Clark. What blew me away was how he
used the six-string as both bass and chordal support simultaneously -- as
a soloist he was both technically adept and a fountain of melodic ideas.
In talking with AH later, he was extremely happy about performing with
these two monsters. Anyway, when these three turned it on, I have to
say, for me there were more creative dynamics and interplay happening
(that I could follow anyway) than I can remember from previous Holdsworth
shows. Erskine, of course, has always been a favorite of mine, ever
since I witnessed him keeping up with Jaco (or vice versa) -- he's truly
a master of his instrument in the same way AH is, and for that matter,
Carpenter. This is not to take away from any of the other great players
AH has worked with -- but I have to say it was totally refreshing and
energizing to hear this new grouping go over some music I was actually a
little tired of hearing the previous band perform. The three new pieces,
to me, were all stunners. "The Sixteen Men of Tain" is a beatifully
crafted mid-tempo piece. There's a slow ballad (forgot the name), that
chordally is I think is one of the most arresting and moving pieces AH
has ever penned. "The E Tune," as AH put it, was a rollicking post-bop
funk groove which eventually segues into a rotation of chords that just
builds and swells like a storm tide; it unleashed Erskine in a way I
haven't heard since he played with Jaco! All in all a delightful set,
and I think although AH was performing largely to a flock of the
converted, it was clear that between Andy Summer's trio -- who were quite
good and well received, and Larry Coryell's trio -- this was clearly the
guitar event of the Namm show -- at least judging from the crowd
reaction.
It was also great to actually meet up/shake hands at long last with a
fellow Chronie, and hoist a few tall pints of Red Hook with Allan after
the show (Yo, Kingsley!).
News/Plans/etc.
Good news for Southern Californians, anyway. Allan's confirmed there
will be some trio dates at Catalina's in Hollywood in late February.
Dave will be playing bass, and I think Gary Novak will be on traps. This
will be a warm up of sorts for the upcoming European tour. I think those
of you who pine on a bit about the IOU album will be pleasantly surprised
with the new record/group. Although a lot of what I'm hearing is new--AH
in the trio format brings back a lot of the feel of that time and band.
And what of Peter Erskine and AH working together? There's a possibility
Peter may record with Allan, but given that Peter is an established solo
artist/band leader, I gather it's unlikely we can expect to see Erskine
on any extended tours with Allan. The Namm gig was a fine opportunity
for them to meet and interact--Gary Novak couldn't get out of another
commitment to do the show, and thankfully Peter was game to help out.
One thing is for certain -- I think the new partnership between Allan and
Dave will be the basis for Allan's greatest trio effort -- it's already
sounding that way, and they've been together a very short time. Looks
like Dave too will be primary bassist involved in the new Soma follow-up
project, which will also feature Victor Bailey and Jerry Goodman as
guests. A lot seems to be brewing at The Brewery -- mostly ale, of
course, but there's a little more music happening in the mix these days,
I'm happy to report -- cheers/Chris.
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