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The New Atavachron Digest 3/97
The New Boxcar Willie Digest 97/04/01
(just foolin')
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From: Paolo Valladolid
Subject: Sand/Synthaxxe/VL1
Date: Sat, 29 Mar 1997 13:06:12 -0800 (PST)
Count me as one of the "non-haters" of the Sand album. It's pretty
amazing Allan was able to make his synth(s) sing given the limitations
of the technology at the time. I'd love to hear him play a Yamaha
VL1/VL1m sometime.
For those of you who don't know, Yamaha's VL line of synthesizers use
physical modeling to produce the most expressive lead synth sounds I
have ever heard. I once attended a demo of the VL1 and was blown away
by the variety of tones the player was able to get with breath control
alone. Not only was he able to vary shadings of tone and volume with
his breath; but he was also able to get other sounds associated with horn
players with tongue control techniques (for stuttering and other effects).
It was the closest I've ever heard a synth approach the expressiveness
of an acoustic instrument.
Paolo Valladolid
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Date: Sun, 30 Mar 1997 01:07:29 -0600 (CST)
From: kessel@ix.netcom.com (Kenny Kessel)
Subject: Re; new subscriber
Christian wrote:
>Does anyone know where I can hear JJ's playing,exept for with
>AH,Chad Wackerman and James Taylor ?
He plays on all of keyboardist Billy Childs' records except for the
last one. Also four records by guitarist Wayne Johnson in the 80s (the
most recent Wayne Johnson record has Gary Willis). All that stuff is
really good. He made a lot of records with a group called "Flim and
the BB's"-- sort of a lightwieght Yellowjackets, that stuff is kind of
hit-or-miss, IMO. He also plays on some tracks of some of sax player
Brandon Fields' records.
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From: lednammurco@earthlink.net
Date: Sun, 30 Mar 1997 02:59:49 -0800
Subject: Re: Cd's With J. Johnson
>Date: Thu, 27 Mar 1997 16:00:53 +0100
Wrote:
>But where did Jimmy Johnson go? Does anyone know where I can hear JJ's
playing,exept for with
>AH,Chad Wackerman and James Taylor ?
You can hear Jimmy Johnson on guitarist Colin Mandel's release, "
Starange and Savage Tales". Mandel has been featured as new talent in
magazines such as Guitar Player and Guitar World, and offers some exciting
instrumental guitar music, with some very nice playing (and even a rare
solo) from Jimmy Johnson on bass.
There is a website for the Cd at .
M.S.
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Date: Sun, 30 Mar 1997 14:20:03 -0800
From: Francisco Pablo Espinoza Estrada
Subject: SPIDO IS GOD !!
Queridos Amigos,
> Date: Wed, 26 Mar 1997 23:23:00 +0000
> From: Andrew Lewis
> Subject: Re: replies to various snippets
>
> re: trio format--this is how I would most prefer to hear Allan in
> concert, for the most part--not to slight the various keyboardists,
> but the more room for Allan the better, IMO. Well... I've liked some
> keys better than others.
I saw Allan in '89 at Los Alamitos High School (California). That
night, Billy Childs played the keyboards. I remember being positively
impressed by his performance. His comping was great and he played some really
hot, bebop influenced solos, most notably on Alan Pasqua's 'Protocosmos'. He
was a great addition to the Spider/Flim/Chad trio. I also remember that, all
through the set, Allan's rig malfunctioned. At one moment he even stopped
playing a solo. Poor Allan was really embarassed, but he took it with humour
and made some funny statement, which I didn't understand, but had the crowd
laughing ! :O)
> How many people out there have been bitten by the string quartet bug?
> This stuff doesn't let me go, and I'm a relatively "naive" classical
> listener. It's just incredible stuff
This is no wonder, given that the real pinnacle of classical music
can be found in the chamber repertoire. It always seems that working with
just a few instruments pushes the composer to achieve the maximum creative
synthesis.
> Agreed here, too. When Metal Fatigue came out, I remember thinking
> how astounding the music was, and yet I didn't listen to it all that
> often because of the vocals.
I get a kick out of Paul Williams' vocals ! His voice is really
classy and blends wonderfully with the band. He's very emotional in his
delivery, too..
> Date: Thu, 27 Mar 97 10:23:28 EST
> From: "Mark Jordan"
> Subject: ROAD GAMES
>
> What happens if you play blues music backwards?
> Your wife returns to you, your dog comes back to life, and you get
> out of prison.
This is very funny !
> Date: Wed, 26 Mar 1997 18:16:31 -0600
> From: "Mark C. Wood"
> Subject:
>
> I've seen other people on this newsgroup rate 'Sand' poorly, but I think
> it's probably my favorite Holdsworth album. I never had a problem with
> his use of the SynthAxe, though. It's a very expressive instrument, and
> this album in particular has some of his most powerful playing on it.
I agree 100 % !! Although it sounds stupid to take Sand to a desert
island, I would certainly do it. 'Distance Vs. Desire' has got to be one of
the most beautiful things done with a synth. The solo in 'The 4.15 Bradford
Executive' is too good to be true, it's like a musical trip ! It's built like
one of those European cathedrals ! 'Pud Wud' is (at the risk of sounding
corny) pure love ! And Allan BURNS in 'Mac Man'! This record is essential and
it ranks among Holdsworth best !
By the way, are you the Mark Wood who played guitar in Ian Carr's
Nucleus during the eighties ??
> From: "Blum, Marc"
> Subject: some bla
> Date: Thu, 27 Mar 1997 12:43:00 +0100
>
> >2. John Coltrane "Coltrane Plays The Blues"
>
> hu?..what about "Crescent" , "Giant Steps" and "Africa, Brass"
I love that album because I'd always liked 'pentatonic' blues, but
when I heard Trane playin' them, I realized that the blues is a feeling more
than a definite harmonic language. In fact, Coltrane plays the blues from a
martian's perspective.
I gotta get 'Crescent' though! It seems that everybody loves it !
> >10. Frank Zappa "Roxy & Elsewhere"
>
> and APOSTROPHE!!!!!!!!!!!
'Yellow Snow' and 'St. Alphonzo' are two of my favorite Zappa tunes !
> and You can't do that on stage anymaore, Pt 2 - The Helsinki Concert
> (once I had a band called THE TOWELS OF DESTINY, check out for the
> reason)
I'm a BIG fan of that lineup, so this is the next one I'm gettin' !
> >11. Pantera "Vulgar Display Of Power"
>
> ah no.. don't like them
Pantera is, hands down, the most powerful metal band in the world. If
I ever break my neck, I want it to happen in a Pantera concert !
> >15. John Coltrane & Julian Adderley "Cannonball & Coltrane"
>
> just say KIND OF BLUE
Yeah, 'Kind Of Blue' is musical perfection. But "Cannonball &
Coltrane" is a very cool 'blowing session' with the quintet, minus Miles, and
it feels sooooo good !
> Date: Thu, 27 Mar 1997 16:00:53 +0100
> From: =?iso-8859-1?Q?=22Christian?= =?iso-8859-1?Q?R=F8rdam=22?=
> Subject: new subscriber
>
> My first experience with his playing was the song
> "a kinder eye" on Level 42's "Guaranteed".The way he played the theme
> was a whole new experience for me,and his solo in the fade-out of the song
> was astonishing,-a real piece of art.
I guess many Level 42 fans had this 'first Allan experience' but
couldn't appreciate it ! I'm glad you could ! That solo is wonderful. Too bad
it's buried in the mix. :O( Welcome to Atavachron !!
> Does anyone know where I can hear JJ's playing,exept for with
> AH,Chad Wackerman and James Taylor ?
Jimmy Johnson's nickname is Flim, and he has (or had?) a band named
Flim and the BB's, which issued several albums. He also has recorded and
toured with Sergio Mendez and Lee (aarrrggghh) Ritenour, Don Grusin, Billy
Childs and Brandon Fields.
> Date: Sat, 29 Mar 1997 11:50:24 -0500 (EST)
> From: andre
> Subject: Re: NEW AH piece, Connors stuff
>
> 4. Montclair is (was?) the home of drummer Chuck Burgi - who was in Brand X
> with Percy Jones. I've heard that Brand X is getting set to do some dates
> with Pierre Moerlen, who has also recorded with AH in GONG....
Chuck Burgi is the drummer for Ritchie Blackmore's Rainbow. Ritchie
also played in Deep Purple and was replaced by Steve Morse, who toured with
Allan in the eighties !! OOOOOOH !!
Chao Amigos !
Francisco
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Subject: Jimmy Johnson
Date: Sun, 30 Mar 97 19:51:44 -0600
From: Sam Whitener
The first place I heard Jimmy Johnson was on the Flim & The BB's CD's.
It is a different style, but some wonderful playing. I find them to be
a very interesting group. The thing about Johnson that I like most is
his attentiveness. There are plenty of technically profecient bass
players but Johnson has tht "something special. Try any of the Flim &
the BB's cd's. Flim by the way is Jimmy's nickname.
Sam Whitener
whitener@sprynet.com
Where there is light, there is a photograph.
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Date: Mon, 31 Mar 1997 18:29:20 +0200
From: "gabriele.bulfon"
Subject: Allan tour and new Java developments
Hi there!
I was at three of Allan dates in Italy: Ivrea, Milano, Ravenna.
They've been fantastic any time.
The only bad thing happened in Milano: I would like everybody in the
world to know that the pub where he played (IL CAPOLINEA) really treated
us as animals. We payed 35,000 Lire, that is more or less 2,400$, and we
was placed inside a narrow space with no seats at all: seats were taken
away just to let more people to fit in. The truth is that we had to sit
down on the ground like animals with feets on the back of the other (if
not on the head!).
So, please, if anyone of you is coming to Milano, never give any money
to those men: never go to the CAPOLINEA club!
The next thing I want to notify is:
If any of you appreciated my Java Music Viewer project (that is still on
the run), perhaps you will like to see another applet of mine that is
capable of delivering audio through Java inside your page: WebSynth.
This applet has been developed under my own company name, so is not
freeware (I'm sorry).
The applet is not at my site (as for the Java Music Viewer), but at the
company one.
Just for fun, let's see who's gonna guess the piece first!
To hear the tune go to http://www.alulabs.com and wait for the audio to
be delivered.
While the music is played, move the mouse over the Netscape/Explorer
images to hear what the WebSynth can do (and to understend my feelings
for the two browsers!!). This last feature will run on JavaScript
enabled browser, and anyway will not run on Explorer 3.0 because of poor
JavaScript implementations (arrgh!!).
BYE!
Gabry.
http://users.iol.it/gabriele.bulfon
http://www.alulabs.com
mailto:gabriele.bulfon@iol.it
mailto:gbulfon@alulabs.com
----------
From: WDCKdarin@aol.com
Date: Mon, 31 Mar 1997 12:23:14 -0500 (EST)
Subject: other guitarist
Hey all,
This is not directly Holdsworth related, but should be of interest to some.
The Jonathan Kreisberg Trio is on a quick US east-coast tour. This band
really kicks ass in an AH-IOU-era kind of way. If your looking for a good
fusion show to see, all those east coast atavachronites should check them
out. Go to http://www.gate.net/~vvbatboy/ for the web page and click on
calender at the bottom for locations and times. I'll be at the New York show.
Hope to see some of you there.
Darin
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Date: Mon, 31 Mar 1997 17:49:17 -0500
From: Kevin Barbour
Subject: Boddington impaired thoughts
Hi all,
Haven't posted in a while but enjoy reading all the comments from
everyone.Thoroughly enjoyed all the posts from all the lucky souls catching
AH on tour cant wait for the US part of the program.I must say I am quite
annoyed with WB for being such a pain regarding release of the Road games
CD but if WB wants more money than a label can recoup on sales I am afraid
that we will never see it on disc as no one wants to lose money reissuing
an old CD.I put my vinyl copy on DAT and thats about as good as it gets
right now.I also picked up a pair of AH pickups from Carvin a few months
ago and was real impressed, they are slightly lower output than PAF's .The
best words I could use to describe the tone is smooth and clean.They sound
great clean and have a nice snarl in the lead sound.I will have to get into
changing the pole pieces around a bit but I think they sound best using
plucked chords(this is not a stumming type pickup)And of course with the
tone control rolled back for a creamy lead tone.I don't know if they would
be good for your average bar band sound but if you were in a instrumental
group where the guitar plays the melody and solos a lot these pickups are
ideal.Thanks to AH and carvin Good job!Finally someone asked about fave
Flim (Jimmy Johnson) playing on other peoples discs here are a few
recommendations:Wayne Johnson trio
Grasshopper,Arrowhead,Everybody'spainting pictures,and spirit of the dancer
also highly recommended is Wayne's Keeping the dream alive with Gary
Willis.Unfortunately Wayne is now playing with John Tesh(the
mahateshnu)check out these discs to find out why this is a waste of
talent.Also Flim and the BB's many recordings especially the 1st digital
recording ever(I think?) on the 1978 Flim and the BB's record.
Cheers,
KB
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Date: Tue, 1 Apr 97 07:13:39 UT
From: "Timothy Messer"
Subject: Dave Carpenter, et al
Greetings
I thought I might add a little to the information concerning Dave Carpenter.
He toured Australia in 1996 with Mike Stern (Dave Weckl & Bob Sheppard were
the other musicians), playing 6 string electric bass for the entire show. He
was very, very impressive (as, indeed, was the whole band). Stern was
interviewed on the radio prior to the tour. If I remember correctly he said
that DC had played with David Sanborn and Al Jarreau, amongst others, in the
past.
Somebody in a recent post mentioned "Hurdy Gurdy Man" by Donovan. This
brought to mind another undervalued British guitarist: Steve Hillage.
Hillage recorded a cover of the tune on the album "L" in approx 1975. His
guitar solo is, to my mind, a rock classic.
Finally, there was some discsussion, not all of it favourable, a while ago
regarding Frank Gambale. I remember reading an interview with AH before
"Truth in Shredding" was recorded in which he named FG as a guitarist whose
playing he admires. Like Brett Garsed, FG is an Australian, although he has
lived in the USA for the past 14 years. He is currently on his first tour of
Australia. (FG was unheard of here before moving to the US.) I saw his
second show in Melbourne; what a homecoming! He is a stunning musician, and
well worth seeing.
Regards
Tim Messer
Messer_in_Law@msn.com
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Date: Tue, 01 Apr 1997 00:38:02 +0100
From: =?iso-8859-1?Q?Jos=E9?= Sogo Flores
Subject: Allan and VG-8
Hi,
I have read in some of the messages about the last Allan's concerts that
he's using a Roland VG-8 processor. Could someone of you comment how Allan
is using the VG-8? Or could someone give a few hints to get close to
Allan's sound using the VG-8? (maybe a patch in midi or sysex format?)
Well, of course I know if I had the same equipment that Allan I would never
sound like him...
Regards
Jos=E9 Sogo Flores
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Date: Tue, 1 Apr 1997 16:56:03 +0100
From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes)
Subject: MF questions
Some Metal Fatigue questions...
1. The riff at the beginning of "Metal Fatigue" sound's
double-tracked. It
is double tracked or harmonised, and if the harmony is parallel what's
the interval?
2. Anybody know if Allan's Pearce amp made any appearances on tape?
3. To join with the chorus, what did happen to Jimmy Johnson? His
solo on
Panic Stations is probably one of my fave bass solos ever - so
melodic,
saying all that needs to be said in a short time. Those were the
days,
when Allan's compositions were more like songs and less like chords
with
5 mins of imporvisation over the top - but I guess that's Jazz, innit?
(oops - rant mode off!)
Michael
Dr Michael Pycraft Hughes Bioelectronic Research Centre, Rankine Bldg,
Tel: (+44) 141 330 5979 University of Glasgow, Glasgow G12 8QQ, U.K.
"Wha's like us? Damn few, and they're a' deid!" - Scottish proverb
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From: ToddM@LaserMaster.Com
Date: 1 Apr 1997 10:54:41CST6CDT
Subject: Sand
Two words on Sand: IT RULES!
Why do I like Sand?
o The head on the title track - sets up a beautiful atmosphere with tension.
The drumming on the piece is fabulous.
o Guitar solo on Pud Wud - "out of control!"
Pasqua's keyboard solo on Pud Wud - elegant.
o Guitar solo on Bradford Executive - what an adventure!
o Synthaxe solo on "Mac Man" - love that 12 watt Marshall sound with synth.
o The backing track to "Mac Man" - funky, sort of a funkier "Jazz from Hell" by Zappa.
o The track Distance vs. Desire - beautiful, rich, spacious.
o The Bass playing on all tracks.
o The drumming in general (especially Bradford Executive and Pud Wud).
I like it!
Todd Madson
PressMate Product Specialist
LaserMaster Big Color Technical Support
Corporate Web Site: http://www.lasermaster.com/
LaserMaster BBS: (612) TEK-LINE
OTIS Faxback Service: (612) 943-3737
----------
End of Atavachron Digest
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Web page: http://www.addimension.com/holdsworth/
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The New Atavachron Digest 97/04/03
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Date: Tue, 1 Apr 1997 23:22:31 -0500 (EST)
From: JDunn49130@aol.com
Subject: AH-10
Jeff,
First off, let me just say I enjoy this site immensely. As a huge Holdsworth
fan since the Guitar Player review of I.O.U. in 1982 turned me onto his
music, I think it's really cool to have a place like this to appreciate and
explore all things Holdsworthian. Could you post this to Atavachron so I
might gain a little more info?
I purchased an 1985 Forest Green AH-10 last month in Akron for $175. It's in
good shape, but missing the original pickup and the pickguard is screwed. I
was wondering if anyone knows if I can get a replacement pickguard (and
pickup) and where. Also, any info about the guitar, like how many were made,
current value, etc., would be appreciated. BTW, it plays superbly and gets
played out a lot. I almost got one 8 years ago, but it slipped away. Funny
how things turn out, finding a gem like that in this dump of a music store in
Akron.
I've had the good fortune of meeting and talking at length with Allan during
a number of his stops in Ohio over the last 14 years. I hope he visits again
soon.
Also, did you catch the great article/interview with him in the latest issue
of EQ Magazine? They discuss the Brewery at length.
Cheers,
jon
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From: CHill3644@aol.com
Date: Wed, 2 Apr 1997 01:16:15 -0500 (EST)
Subject: J. Flim Johnson
If I'm not mistaken J.J. plays on at least two sides by a guy named John
Serie..(spelling?) This is kinda mid 80's L.A. ish fusion but with more
attention towards composition, i.e. less cheese. I think one side is called
"Acrobat".
I think they are worth checking out, if your into Flim, and if you kind find
them.
I apologize in advance if names/and or spellings are incorrect....I'm
working without a (neural) net. Too much Glenlivet under the bridge!
CHill3644@aol.com (Carl Hillman)
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Date: Wed, 02 Apr 1997 05:28:39 -0500
From: Captain Liberal
Subject: Re:
>
>Date: Tue, 1 Apr 1997 16:56:03 +0100
>From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes)
>Subject: MF questions
>
>Some Metal Fatigue questions...
>
>1. The riff at the beginning of "Metal Fatigue" sound's
>double-tracked. It
> is double tracked or harmonised, and if the harmony is parallel
what's
> the interval?
The riff is harmonized. The interval is -2. (For best results, match the
output level of the pitch transposer with the dry signal.) The head is
also harmonized at dual intervals: +5 and +12 (octave). You'll probably
need an Eventide H3000 or better tool for this. While an ADA PitchTraq or
Ibanez HD1500 will do for the intro, the clean head sound is tougher to
make with low buck pitch transposers - and you need to make two harmonies.
>2. Anybody know if Allan's Pearce amp made any appearances on tape?
I believe the Pearce was used on Metal Fatigue.
Captain Liberal
-------------------------------------------------
The opinions voiced herein DO represent the views
of the management of Wardenclyffe Technology Ltd.
-------------------------------------------------
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From: KRosser414@aol.com
Date: Wed, 2 Apr 1997 09:13:19 -0500 (EST)
Subject: Re: No Subject
In a message dated 97-04-02 00:30:21 EST, you write:
>I thought I might add a little to the information concerning Dave Carpenter.
>
>He toured Australia in 1996 with Mike Stern (Dave Weckl & Bob Sheppard were
>the other musicians), playing 6 string electric bass for the entire show.
He
>
>was very, very impressive (as, indeed, was the whole band). Stern was
>interviewed on the radio prior to the tour. If I remember correctly he said
>that DC had played with David Sanborn and Al Jarreau, amongst others, in the
>past.
Dave has toured with Buddy Rich for a few years, Maynard Ferguson, Woody
Herman and worked around L.A. with Branford Marsalis, Billy Eckstein, Larry
Carlton, Jack Sheldon, Toots Theilemans, Robben Ford and had a great trio
that played a lot locally with Peter Erskine and Alan Pasqua. He's also
pretty much been the first call session guy for the last few years as well,
so I'm sure the complete resume is pretty long. I've had a few opportunities
to record and play with Dave as well and he's an incredibly nice guy in
addition to being a phenomenal player.
Ken R
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Date: Wed, 2 Apr 1997 09:56:13 -0500
From: Vince_Leonberger@mail.sel.sony.com (Vince Leonberger)
Subject: What a fan
Regarding the statement below.
The only bad thing happened in Milano: I would like everybody in the
world to know that the pub where he played (IL CAPOLINEA) really
treated us as animals. We payed 35,000 Lire, that is more or less
2,400$, and we was placed inside a narrow space with no seats at all:
seats were taken away just to let more people to fit in. The truth is
that we had to sit down on the ground like animals with feets on the
back of the other (if not on the head!).
Man, you paid $2,400 dollars to see A.H.( is that accurate?) and you
sat on a dirt floor. And I thought I was a loyal fan. My hat goes
off to you.
Amazed
VL
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Date: Wed, 02 Apr 1997 10:11:23 -0800
From: Pat Drews
Subject: (no subject)
> Date: Tue, 1 Apr 1997 16:56:03 +0100
> From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes)
> Subject: MF questions
>
> Some Metal Fatigue questions...
>
> 1. The riff at the beginning of "Metal Fatigue" sound's double-tracked. It
> is double tracked or harmonised, and if the harmony is parallel what's
> the interval?
He used a harmonizer. There's definitely one tone a whole step from the
original, but I can't tell if the lower or higher tone is the original
(not that it really matters).
----------
Date: Wed, 02 Apr 1997 08:20:53 -0800
From: kg_walker@pnl.gov (Kevin G. Walker)
> Count me as one of the "non-haters" of the Sand album. It's pretty
> amazing Allan was able to make his synth(s) sing given the limitations
> of the technology at the time. I'd love to hear him play a Yamaha
> VL1/VL1m sometime.
I don't feel that synth technology was very limited at the time on "Sand."
There has not really been any marketed new methods of synthesis since Linear
Arithmetic synthesis and other hybrids. Most machines since the late 80's were
simply "band in a box" type units (i,e, sequencer and fx and sound engine).
I'm glad to hear that Yamaha may be marketing something new. Read a book or
two on analysis of musical signals and you'll discover the gap between what
could be done and what's available to us as consumers. Anyway, I'll check out
the VL1/VL1m ASAP.
--
Kevin G. Walker
EMAIL: kg_walker@pnl.gov
VOICE: (509) 375-6864
FAX: (509) 375-3641
"Java is clearly an example of a money oriented programming (MOP)"
- A. Stepanov
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From: MerdadP@aol.com
Date: Wed, 2 Apr 1997 21:32:32 -0500 (EST)
Subject: Re: No Subject
Given all of this discussion about Jimmy Johnson, I have been wondering if
anyone knows what Jeff Berlin is up to? My first Holdsworth experience was on
Bill Bruford's "One of a Kind" album, which is probably one of the most
amazing albums I've ever heard. Bruford has since gone on to do the Yes
reunion, the King Crimson reunion, and Earthworks, but I haven't heard
anything from him recently (unfortunately). Berlin played around for a while
and put out 2 albums of his own ("Champion" and "Pump It', of which the
former is, in my opinion, the better), and a few with Scott Henderson, T
Lavitz (from the Dregs), and Scott Smith (a la Journey and his own solo
stuff) as "Players," I haven't heard anything from him. Frankly, his chording
on Road Games is amazing, and his stuff with Bruford was also incredible.
Anyone know if he's done anything more recently? Is it worthwhile? If not,
WHY?? BTW, if any Holdsworth fans haven't heard Bruford's One Of A Kind, I'd
highly recommend it--it's a bit old, but just a great album.
Merdad Parsey
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Date: Wed, 2 Apr 1997 21:45:15 -0500
From: freda@crosslink.net (Fred Amendola)
Subject: Re: MF Questions
>Date: Tue, 1 Apr 1997 16:56:03 +0100
>From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes)
>Subject: MF questions
>
>Some Metal Fatigue questions...
>
>1. The riff at the beginning of "Metal Fatigue" sound's
>double-tracked. It is double tracked or harmonised, and if the harmony is
parallel what's the interval?
That is a harmonizer tuned down a whole step. Allan showed this to a friend
and myself at a soundcheck in D.C. Second fret A Major chord position.
That's a fun interval to play with.
Fred Amendola
freda@crosslink.net
----------
Date: Thu, 3 Apr 1997 07:19:23 -0700 (MST)
From: Bill Lantz
Subject: James Johnson and a question...
A James Johnson plays bass on Roger Waters "Amused To Death" CD along with
Randy Jackson and John Patitucci. I'm pretty sure this is Jimmy.
Looking forward to a hopeful USA Holdsworth Group tour. I'd love to check
out the "new band". Someone mentioned Dave being on the recent Cobham tour.
Was this the tour with Gary Husband on keyboards and second drums?
Bill
----------
Date: Thu, 03 Apr 1997 09:27:28 -0500
From: MCDONAP
Subject: In Defense of Skuli
>>Skuli is
>>an amazing player technically, but I feel he never integrated himself
>>that well into Holdsworth's music, at least compared to my hero, Jimmy
>>Johnson (or Jeff Berlin, my other hero, for that matter).
>I have only been able to see Skuli from the video, and I agree with you, he's
>quite amazing. HOWEVER, I would really like to see AH work with a less "busy"
>bassist, someone more along the lines of a Tony Levin, Mick Karn, etc. I
>can't help feeling that a lot of bassists, especially in a trio setting, tend
>to overplay considerably, IMHO.
I just wanted to be counted in as a big fan of Skuli Sverrisson. I
realize that everyone is entitled to their own opinion, and I'm not
trying to say that anyone's opinion is wrong. It's subjective, so
what's the point in arguing?
When I went to see Allan on tour in '91, I was expecting to see Jimmy
Johnson, and I was really let down when I saw the concert t-shirts with
a "new" name. As a bass player, I tend to be a little protective of
who's in the bass chair in Allan's band, and I felt no one could fill
Johnson's shoes. Well, within a couple of tunes, I was totally won
over. Personally, I felt Skuli added something unique. I guess that
one thing we can all count is that Allan always tours with great
musicians. We can all have our favorites, but we'll never be let down
by Allan's choices.
It's kind of difficult to find Skuli's recorded work. If you can find
any of the stuff he's on, you'll find it's pretty varied. I think it
may convince those who consider him a technician that he's got a great
deal of feeling too. I would recommend anything by Mo Boma -
"Jijimuge", and "Myths of the Near Future Parts 1,2 & 3". It's out of
print, but Full Circle's "Secret Stories" is incredible. Skuli also
plays on the latest from Kazumi Watanabe - "Esprit". His own solo disk,
"Seremonie", is due out soon on Extreme Records, and I believe he'll be
on a disk by the group Pachora due this summer. Does anyone know of
anything else he's on?
When I go to concerts, I tend to avoid meeting the musicians. I guess
I'm always afraid that they won't be what I expect. After all, they are
human beings, and they haven't asked to be put on a pedestal by people
like me... I met Skuli after Kazumi's show in NYC this past summer, and
he was as nice a person as you could imagine. It just further cemented
my respect and admiration for him.
I'll continue to seek out Skuli's playing, and I'll miss him as part of
Allan's band. However, I'm really looking forward to seeing the new
band, and I hope Allan tours the Northeast. My experience with Skuli
has taught me that I can't go to a concert with a chip on my shoulder
because my personal favorites aren't there.
Pat McDonald
----------
Date: Thu, 3 Apr 1997 09:48:16 -0500 (EST)
From: "Donald J. Lacombe"
Subject: Holdsworth Transcriptions....
Greetings to fellow Atavachron Digest readers! This is my first
posting to the digest and wanted to let everyone know how much I enjoy
it....:^).
As a huge fan of Allan's music (and guitar player) I'm very much
interested in transcriptions of Allan's music. I'm familiar with all of
the common things out there but I was wondering how fellow readers of the
digest feel about this situation. I've tried transcribing some things on
my own, but don't have the equipment (i.e. digital phrase sampler) to do
an adequate job.
I've seen countless tablature books for some very dubious bands
(who shall remain nameless) but have yet to see the same for Allan's work.
Also, I'm sure that Allan would like each of us to find our own voice on
the instrument but some of his lines are so captivating that I would like
to know how they're played. I especially like the work on Atavachron and
as an aside, I think Non Brewed Condiment is a great SyntheAxe tune.
Anyway, how do other readers of the digest feel about this
situation? Are there reader who would purchase such a product? I would
appreciate comments on this matter....and would like to hear from
Holdsworth fans here in the Tallahassee/North Florida area!
***********************************************************
* Donald J. Lacombe 461 Bellamy Building *
* Department of Economics Office: (904) 644-7076 *
* Florida State University Graduate Student *
***********************************************************
----------
Date: Fri, 04 Apr 97 11:15:54 EST
From: "Mark Jordan"
Subject: Gong
Hi All
Could someone give me an idea of what "Time Is The Key" is like before
I buy it. I was stung by "Land of Cockyane" which is utter crap so I
don't want to get caught again. To give you an idea I quite like
Gauzeese (excuse spelling), Expresso II and Gongzilla. Also an idea of
what the SOMA album is like would be helpful.
Concerning the SAND album. I agree with Todd. How come this seems to
get a rough deal? There are some excellent tunes and great solos on
this. Whether Allan plays guitar or synthaxe his style and personality
still shine right through, and isn't this what we all like?
>From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes) Subject: MF questions
>Some Metal Fatigue questions...
>1.The riff at the beginning of "Metal Fatigue" sound's
>double-tracked.
>Is it double tracked or harmonised, and if the harmony is parallel
>what's the interval?
Correct me if I'm wrong but I think this is harmonized to a major
second. I've set up a patch on my Intellifex to do this and it sound
pretty close.
It's great news that Allan is looking to tour Australia. It will be
great to see/hear him again and this new three piece outfit sounds
really interesting. It's good to hear that he has written some new
tunes as well as I'm looking forward to another real AH album. Don't
get me wrong, NTS was great, but I'm just looking froward to see where
Allan is going to take his muse next.
Mark Jordan
mjordan@awb.com.au
----------
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 Riff Technology, Inc.
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The New Atavachron Digest 97/04/05
----------
From: JoinSFO@aol.com
Date: Fri, 4 Apr 1997 00:46:24 -0500 (EST)
Subject: Re: No Subject
I have to agree with Paolo V. about Sand. I absolutely adore that album for
the very reasons Paolo addressed. Sand just massages the ear...
I was in the hospital in 1995 for brain cancer surgery (no joke) and the
first thing I asked to listen to after leaving the ICU was Sand. With one
headphone in the ear that wasn't covered by bandages, on a Sony Discman, it
was a very healing thing. What a joy that was... =)
----------
Date: Fri, 4 Apr 1997 10:00:48 +0100
From: Michael Hughes
Subject: AH-10
Jon Dunn done bought an AH-10:
>I purchased an 1985 Forest Green AH-10 last month in Akron for $175. It's in
>good shape, but missing the original pickup and the pickguard is screwed. I
>was wondering if anyone knows if I can get a replacement pickguard (and
>pickup) and where.
WD parts offers a custom pickguard service; they probaby have the AH template, or you could send whatever bits of it you have! This also gives you the advantage of ordering it in the colour you like....
As for the pickup, go the whole hog and get a Seymour Duncan Allan Holdsworth, or maybe one of the new Carvin units.
Pat McDonald:
>I have only been able to see Skuli from the video, and I agree with you, he's
>quite amazing. HOWEVER, I would really like to see AH work with a less "busy"
>bassist, someone more along the lines of a Tony Levin, Mick Karn, etc. I
>can't help feeling that a lot of bassists, especially in a trio setting, tend
>to overplay considerably, IMHO.
Hear hear - I think this is another vote for a return to the IOU days, no?
Still, as they say, one man's meat is another man's poisson, so to speak.
Michael
PS thanks to everyone who replied about the harmoniser bits of MF!
----------
From: Steve_Vaughan@ilink.demon.co.uk
Date: Thu, 03 Apr 97 08:44:48 GMT
Subject: Jimmy Johnson on Steve Tavaglione album
Jimmy Johnson is on three tracks on Steve Tavaglione's album "Blue
Tav". He co-writes one of these tracks, which features Holdsworth on
guitar. Damn good track too.
Actually, the entire album's pretty good, even if it is a bit of a
"CV" album (that's resume for the lingually challanged). Not easy to
find though.
Steve Vaughan
----------
Date: Fri, 04 Apr 1997 03:36:46 -0600
From: Roy DeRousse
Subject: Bruford and Berlin - recent projects
Merdad, Jeff Berlin has kept a low profile in the past few years. He
runs a music school in Florida for one thing. I know that he and
Patrick Moraz have jammed together within the past few years and hope to
record something eventually. Also, I didn't see the ABWH album "An
Evening of Yes Music Plus" mentioned in your note. Jeff filled in for a
sick Tony Levin the night that was recorded after only 2-3 days of
rehearsals! He is pretty much subdued in that release but does a
credible job.
Bruford contributed an original song to the Buddy Rich tribute album
organized by Neil Peart. (Great big band album, BTW!) He also appears
on the "Genesis Revisited" album by Steve Hackett, released in Japan
only so far. He's also done some other sessions that haven't appeared
yet, such as the long-awaited (and now on-hold) new U.K. project. I've
heard rumors that he is working on a new (non-Earthworks) solo project
currently.
--
Have fun!
Roy DeRousse (relayer@iname.com)
St. Louis, Missouri, USA
----------
Date: 04 Apr 97 08:08:31 EST
From: Douglas Kent <73567.1414@CompuServe.COM>
Subject: Message from Internet
" The only bad thing happened in Milano: I would like everybody in the
world to know that the pub where he played (IL CAPOLINEA) really
treated us as animals. We payed 35,000 Lire, that is more or less
2,400$, and we was placed inside a narrow space with no seats at all:
seats were taken away just to let more people to fit in. The truth is
that we had to sit down on the ground like animals with feets on the
back of the other (if not on the head!)."
Just as clarification for readers, 35,000 Lire is currently about $21.10 in
US dollars - I think he meant to say $24.00 not $2400
----------
From: Damflevy@aol.com
Date: Fri, 4 Apr 1997 09:50:40 -0500 (EST)
Subject: Jeff Berlin
Dear people,
I hear that there have been inquiries about what Jeff Berlin is up to. I am
happy to say that you should see a new disc from him, on DENON, hopefully by
september. He is in the mixing stages now, and we are just hoping everything
goes well. I'll let you know further details once I get them. He is playing
with Cliff Almond, Scott Kinsey, Howie Shear.
Cheers,
Eric Lowenhar
Denon Records
----------
Date: Fri, 04 Apr 1997 08:28:31 -0800
From: Scott Steele
Subject: Time is not necessarily the key
>From: "Mark Jordan"
>Subject: Gong
> Hi All
Could someone give me an idea of what "Time Is The Key" is like before
I buy it. I was stung by "Land of Cockyane" which is utter crap so I
don't want to get caught again. To give you an idea I quite like
Gauzeese (excuse spelling), Expresso II and Gongzilla. Also an idea of
what the SOMA album is like would be helpful.
Gazeuse/Expresso might be my favorite album ever made, by anyone.
Allan's appearance on Time is the Key is fleeting - he plays a solo on one song,
and it's highly "treated". It's got a harmonizer or something on it. I think
it was recorded before he got into synthesizers, but it sounds very synthetic.
I would say that if you think Land of Cockayne is utter crap, you won't want to
bother with Time is the Key or any of the other Gong records besides the ones
you already have. - S.
scottst@ohsu.edu
----------
From: BobbyZZZ@aol.com
Date: Fri, 4 Apr 1997 12:20:28 -0500 (EST)
Subject: Re: No Subject
In a message dated 4/4/97 1:49:32 AM, you wrote:
>
>Given all of this discussion about Jimmy Johnson, I have been wondering if
>anyone knows what Jeff Berlin is up to?
the wonderful mr. berlin lives here in florida, clearwater to be exact. he
has a school called "the players school of music", and he gets out to jam
occasionally. i'm going to a 5 hour master calss on improvisation with jeff
tomorrow. it's amazing how many musicans live here and never take advantage
of jeff's classes! i play at all of the yearly FLorida Guitar Shows, and
Jeff is always there. what a phenomenal bassist and musician! i fell in love
with him from the "road games" album, which jeff doesn't even have a copy of
(!!!???)...i'm going to make him a cassette dub of my poor old worn out vinyl
so he can at least hear it again :-)
bobby devito/LVX NOVA
http://www.sar.usf.edu/~devito
----------
Date: Fri, 04 Apr 1997 11:32:31 -0600
From: "Mark C. Wood"
Subject:
>Date: Tue, 1 Apr 1997 23:22:31 -0500 (EST)
>From: JDunn49130@aol.com
>Subject: AH-10
>I purchased an 1985 Forest Green AH-10 last month in Akron for $175.
>It's in good shape, but missing the original pickup and the pickguard is
>screwed. I was wondering if anyone knows if I can get a replacement
>pickguard (and pickup) and where. Also, any info about the guitar, like
>how many were made, current value, etc., would be appreciated.
Seymore Duncan made an Allan Holdsworth pickup (which I heard is like
a PAF 59B, but with a little less output), and for a while he was using
them on his Steinbergers. I don't know if Seymore Duncan still makes
them, but you might check with your local music shop. They should also
have a Strat style pickgaurd that will fit. You might also consider getting
the Holdsworth Model Humbucker H22N ($49) from Carvin. Check
www.carvin.com. (I'm not getting paid for any of these endorsements!!!)
For some Ibanez AH-10 brochure outtakes check
http://www.addimension.com/atav/docs/pics.html.
Later.
Mark
----------
Date: Fri, 04 Apr 1997 10:43:24 -0700
From: "Jim Wright, jr."
Subject: Re: Jeff Berlin
I'm rather painfully obviously a newbie, but I do have something to
share en re Jeff Berlin if if this gets through.
Don't forget Kazumi Watanabe and Spice of Life. I have a Video of
Watanabe, Bruford and Berlin billed as Spice of Life live in
Japan....Primo stuff for my taste.
I too, wonder what else Berlin may have done. Thanks for the Tips.
----------
Date: Fri, 4 Apr 1997 18:37:36 -0500 (EST)
From: dainis s kaulenas
Had an opportunity to sample some forthcoming live UK albums circa their
first tour today, via Progression magazine. I'd have to give it a miss,
the mix is awful, John Wetton's majorly flat all over the place, & the
performances are uneven all around. Just thought I'd share! -dainis
----------
Date: Sat, 5 Apr 1997 01:52:32 +0000
From: m58ml46e@students.su.se (Michael Linderoth)
Hello ,
this is my second attempt at commmunication at the Atavachron site. What is
the story behind the name Wardenclyffe Tower?
Best
Michael
Linderoth
----------
Date: Fri, 4 Apr 1997 19:17:33 -0500 (EST)
From: WMP273@aol.com
Subject: no subject
First. I'd like to thank the atavachronist who recommended Tony Williams'
"Wilderness" album; I picked it up on that endorsement and it is, in fact a
masterpiece. God bless Tony.
Re Bruford's "One of a Kind" and AH's "Sand".... in '86 I went to see
Bruford's Earthworks in NYC for the first time at NYC's "premiere" (what a
laugh) rock club, the Bottom Line. I showed up for the show maybe 1-1/2 to 2
hours early, and when the doors opened I was seated in... the table farthest
from the stage (this is known as NY hospitality). Now I know I must not
complain, as I was seated in a chair, and the tickets were, as I recall, less
than 2400$.
In any case, seated at the same table, across from me I met a mysterious lady
with whom I chatted about AH's work on Bruford's "Feels Good to Me" and "One
of a Kind" albums. This was the first of AH's work I had heard, and I had
ssen him live around the time of I.O.U. But somehow I had lost touch of AH
since Road Games. She turned me onto "Sand" and "Atavachron", which I
promptly bought (on vinyl) and have enjoyed since (of course I have optical
versions now). I think "Sand" is a great album, and I'll add my voice to the
chorus of those who noted the inspired guitar work on 4.15 Bradford
Executive.
Now, where is this lovely lady who rekindled my interest in AH? I don't
know, but the odds aren't bad she's reading this post right now!
For Bruford fans, the "Stomping Grounds" live album, if you can find it, is
worth getting.
Jeff, keep up the good work....from your kinsman (Willard Preston)
----------
Date: Fri, 04 Apr 1997 19:16:27 -0500
From: John Tlusty
Subject: "Sand" and AH's synth stuff
> Count me as one of the "non-haters" of the Sand album. It's pretty
> amazing Allan was able to make his synth(s) sing given the limitations
> of the technology at the time.
I too am a "non-hater" of this album, and have always had a high opinion of
Allan's use of synthesizers. I myself am a guitarist and professional
"synthesist" (keyboardist). I have a BA in Electronic Music, and earned my
degree with keyboards and guitar synthesizer. My opinion towards Allan's
use of synthesizers is this: It seems to me that most keyboardists simply
use presets on their equipment, and do practically nothing to do anything
"expressive" with the sound. Allan, on the other hand, uses really
wonderful sounds, typically "non-stock sounds" (don't know if he programs
his own sounds - if he does, he's doing a great job), and goes all out to
apply as much of his wonderful expressiveness to what he's playing. His
use of the breath-controller on the opening track of "Sand" is proof. In
my opinion, Allan does MORE with synthesizers with his SynthAxxe than most
keyboardists do!!! And I consider that a shame to the world of keyboardists.
One thing I don't understand is the many guitar players who dislike Allan's
use of the SynthAxxe. Why? He's playing really awesome expressive
stuff!!! Or don't you hear it for some reason, maybe because it isn't a
"guitar tone"? A really wonderful (famous) music teacher drilled into all
our heads: "It isn't WHAT you play, it's HOW you play it!!" The best
musical rule in the world, I think. And Allan is a prime example of this
rule.
On a guitar note, I'd have to say that Allan's long lead on the "???
Express" (whatever it's called - the "train song" - can't remember the
title) is simply a work of pure beauty. One of the most wonderful solos
I've ever heard. A "perfect" solo, if you will.
Well, enough of my babbling and opinions. Musicians out there - I hope
some of this sinks in. You can LEARN from Allan! To Allan - you are a
true gift to music, and I thank you for all you do for us.
John T.
----------
From: Paolo Valladolid
Subject: Synthesizers
Date: Fri, 4 Apr 1997 16:29:52 -0800 (PST)
> Date: Wed, 02 Apr 1997 08:20:53 -0800
> From: kg_walker@pnl.gov (Kevin G. Walker)
>
> > Count me as one of the "non-haters" of the Sand album. It's pretty
> > amazing Allan was able to make his synth(s) sing given the limitations
> > of the technology at the time. I'd love to hear him play a Yamaha
> > VL1/VL1m sometime.
>
> I don't feel that synth technology was very limited at the time on "Sand."
Sorry, I forgot to type the phrase "available to typical performing
musicians" between "technology" and "at the time".
Yes, I know about the research going on in academic institutions such
as IRCAM, CCRMA, etc.
Oh, let me amend that phrase to: "available to performing musicians
outside of academia". Satisfied? ^_^
> There has not really been any marketed new methods of synthesis since Linear
> Arithmetic synthesis and other hybrids. Most machines since the late 80's were
The Kawai K5 doesn't count? How about the Technos Axcel, Super FM, the
Kyma/Capybara, etc.? Note that I'm talking about synthesizers that have
been marketed since the time of L/A synthesis - I do not mention synthesizers
developed in academia.
Out of respect for Jeff P. if you want to discuss this further, let's
take this to private email.
Paolo Valladolid
---------------------------------------------------------------
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|for Music Technology and Stringed Instruments | \
---------------------------------------------------------------- |
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-----------------------------------------------------------------
----------
From: "Leslie Miller"
Subject: Hello
Date: Fri, 4 Apr 1997 21:54:32 -0600
Hello All!
It is me Leslie Miller. I am here to shamelessly plug the fact that my
painting is on the Allan Holdsworth site.Please check it out and feel free
to email me a comment at lmillerour-town.com A personal thank you goes to
Jeff for doing a great job! Wow! my own category and full page? ...Gee...I
was very overwhelmed and excited! Thank you again! All you other Holdsworth
artist/fans take Jeff up on his offer and submit some of your art work. I
know I would love to see some...Something new may of happened here on the
site!
Also.... Someone in Ohio spoke at length to Allan when he toured several
times there? ..Come on.. if he can make it down to Ohio maybe he can come
back to Texas sometime!(Hey I sound like a stuck groove,but it is worth a
shot!) And someone else in Milano,Italy payed $2,400 to see Allan?... Are
you sure it was not lire.... Italian currency? (My computer does not have
the symbol for that )That explains the $ sign at the end of the price paid.
(That is the way Italians write their currency) I lived there for 3
years...If not... Boy that IS a fan! Uh-Oh!!!! I'd better shut this off a
big Texas Spring storm is looking nasty! Didn't mind until the flash
flaired up! chow "till later!
Leslie
----------
Date: Sat, 05 Apr 1997 03:17:48 -0800
From: Francisco Pablo Espinoza Estrada
Subject: BERLIN HITS THE GONG
Dear brothers and sisters,
> Date: Tue, 1 Apr 1997 23:22:31 -0500 (EST)
> From: JDunn49130@aol.com
> Subject: AH-10
>
> I purchased an 1985 Forest Green AH-10 last month in Akron for $175.
Luckily it was you who found that guitar ! Imagine it in the hands of
some alternative 90's dude...... Whew !
> It's in
> good shape, but missing the original pickup and the pickguard is screwed. I
> was wondering if anyone knows if I can get a replacement pickguard (and
> pickup) and where.
The Seymour Duncan Allan Holdsworth Model pickup shouldn't be hard to
find:
Seymour Duncan http://www.seymourduncan.com
5427 Hollister Avenue
Santa Barbara, CA 93111-2345, USA
Tel: (805) 964-9610
Fax: (805) 964-9749
E-mail tech@seymourduncan.com
> From: MerdadP@aol.com
> Date: Wed, 2 Apr 1997 21:32:32 -0500 (EST)
> Subject: Re: No Subject
>
> Given all of this discussion about Jimmy Johnson, I have been wondering if
> anyone knows what Jeff Berlin is up to?
Hey Merdad ! Check this out for the full story !!!
http://www.playerschool.com/music-ed/welcome.html
This is fun too !
http://www.playerschool.com/music-ed/bio.html
> Date: Fri, 04 Apr 97 11:15:54 EST
> From: "Mark Jordan"
> Subject: Gong
>
> Hi All
> Could someone give me an idea of what "Time Is The Key" is like before
> I buy it. I was stung by "Land of Cockyane" which is utter crap so I
> don't want to get caught again. To give you an idea I quite like
> Gauzeese (excuse spelling), Expresso II and Gongzilla.
LOL !! Paraphrasing Butt-Head, 'Land of Cockayne' Zuckz !!
This is a big coincidence for me, because I just bought 'Time is the Key'
in a horrible local CD store which is the LAST PLACE ON EARTH you could find
anything remotely related to Holdsworth. It seems that somebody ordered this
record and never came back for it. The guys were thanking me for buying it. One
clerk told me that it had been there for 3 years !. The CD box was so dirty and
scratched that you couldn't see the cover. I changed the box and took it home for
$5 !
I just finished listening to it... According to the Atavachron
discography, Allan plays on the last three tracks, but I really can't hear him on
the last one (title track). Allan is clearly heard in 'Arabesque', a rather funny
tune which basically consists of a simple clean guitar riff played by Lozaga
coupled with an extraordinarily cheesy pseudo-arab synth melody, courtesy of
Peter Lemer and a cool Moerlen drum groove. Things are safe until a strange noise
is heard at 1:18. It's our friend Spider, who proceeds to play one of those
weird, cool things we call a 'Holdsworth guitar solo'. I really enjoyed this one,
really interesting, 1:07 long, exploratory solo, and well worth my $5 !! The
guitar sound is closer to UK than to I.O.U., and better than in the former IMHO.
The other tune featuring Allan is 'Esnuria Two', a (for the lack of a
better term) Zeppelin-style-pentatonic-guitar-riff-by-Lozaga tune with a keyboard
solo by Lemer, followed by Allan (2:31) playing what sometimes sounds like an
electric-harmonized accordion (3:25), others like a harmonized, slightly
distorted guitar and others like a prehistoric guitar synth. Can anybody tell me
how did he get this strange tone ???
The rest of the album is dominated by dated synth and guitar sounds, and
some trademark Moerlen vibes and marimbas. Bon Lozaga is all over the place and
he sounds really dated to me. There's an awful pseudo funk tune called 'The Organ
Grinder' which is cheese at it's best ! Then there's a Joe Walsh style rocker
called 'The Bender' which has a decent blues drenched solo by Lozaga (or is it
Nico Ramsden, someone clear this). The rest of the tunes are simple
keyboard/guitar vamps. Not bad, but I miss the more rocking, improvisational
attitude of Gazeuse and Expresso II. Overall, definitely better than 'Cockayne',
but not the best Gong out there. The high points of this CD are Allan's solos....
again !
I hope this blah-blah eases your decision !
Yours truly
Frank Spine
----------
End of Atavachron Digest
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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/
The New Atavachron Digest 97/04/07
----------
From: MerdadP@aol.com
Date: Sat, 5 Apr 1997 15:05:19 -0500 (EST)
Subject: Re: No Subject
Thanks for all of the Jeff Berlin info. SOmeone pointed out that I mistakenly
wrote Scott Smith instead of Steve Smith, and my apologies (that's what yu
git fur typin fass). Anyway, I must agree (although I left them out) that the
SPice of Life albums (both ) are actually quite enjoyable. Also, the Buddy
Rich tribute album is a GREAT album as well (but now I digess from all things
Holdsworth even more...), with some great drumming.
I'd still love to hear a Berlin/Bruford. Holdsworth reunion. Oh hell, throw
in Dave Stewart and call it a day.
----------
Date: Sat, 05 Apr 1997 12:34:35 -0800
From: Scott Steele
Subject: Twins separated at birth
Twins separated at birth: Pud Wud from AH's Sand, and the song Forty Reasons
from Chad Wackerman's album of the same name.
Re Jeff Berlin:
>happy to say that you should see a new disc from him, on DENON, hopefully by
september. He is in the mixing stages now, and we are just hoping everything
goes well. I'll let you know further details once I get them. He is playing
with Cliff Almond, Scott Kinsey, Howie Shear.
>Eric Lowenhar
>Denon Records
Thanks for the info, Eric. I recognize Kinsey as the keyboardist in Tribal
Tech, so that's a great choice by Jeff. What instruments do the other fellows
play?
The lovely and talented John T., who plays keyboard synths *and* guitar synths,
says this:
>One thing I don't understand is the many guitar players who dislike Allan's use
of the SynthAxxe. Why? He's playing really awesome expressive stuff!!! Or
don't you hear it for some reason, maybe because it isn't a "guitar tone"?
Right now 40 Reasons is playing, and the guitar tone is to kill for. I agree
that Allan's synth tones are refreshingly original, and maybe the "conventional
guitar tone" is not quite as original. But it's so damn nice that I prefer it.
But I don't hate Sand. But my favorite song on Sand is Pud Wud, a guitar tone
tune. My .02. - S.
scottst@ohsu.edu
----------
Date: Sat, 5 Apr 97 21:17:26 UT
From: "Timothy Messer"
Subject: RE: Observations
From: CHill3644@aol.com
Date: Wed, 2 Apr 1997 01:16:15 -0500 (EST)
Subject: J. Flim Johnson
If I'm not mistaken J.J. plays on at least two sides by a guy named John
Serie..(spelling?) This is kinda mid 80's L.A. ish fusion but with more
attention towards composition, i.e. less cheese. I think one side is called
"Acrobat".
I think they are worth checking out, if your into Flim, and if you kind find
them.
I apologize in advance if names/and or spellings are incorrect....I'm
working without a (neural) net. Too much Glenlivet under the bridge!
The albums are "Exhibition" and "Jazziz" by John Serry on Chrysalis Records.
From: MerdadP@aol.com
Date: Wed, 2 Apr 1997 21:32:32 -0500 (EST)
Subject: Re: No Subject
Given all of this discussion about Jimmy Johnson, I have been wondering if
anyone knows what Jeff Berlin is up to?
I read in "Bass Player" magazine last year that Jeff Berlin had signed with
Denon. JB's column in the same magazine included his email address. I wrote
to JB and asked about the report. In his reply, JB confirmed that he had
signed with Denon and said that he was going to LA in 12/96 to record and
anticipated that the CD would be released in April or May of this year.
Regards
Tim Messer
Messer_in_Law@msn.com
----------
Date: Sun, 6 Apr 1997 01:42:21 -0600 (CST)
From: zarabeth@mail.utexas.edu (Mitch Greene)
Subject: First E-posting, technique questions
Hello All!
Thanks to Jeff for all his hard work. I've been a die-hard Holdsworth fan
since '84, around the time of Road Games. Since then I've been stretching;
my mind, my fingers, my budget (I grab a hard to find Holdsworth album as
the opportunity presents itself and devil take the hindmost!)
I'd have to say Hard Hat Area is one of my favorite Holdsworth albums.
Very lyrical, sublime. It took me a while to warm up to some parts (a
pattern here as with other Holdsworth albums) but I'm duly impressed by the
extended improvs/jams: a fluid channeling of energy.
I must stand up and cheer for Skuli Sverrisson:) Down with insipid bass
solos! It's easier to tame a wildcat (though I don't think it's necessary)
than it is to spark a light under a dud.
Can anyone share their ideas on practise exercises? I have an interesting
rudiment readers might not have heard about and might fing useful. If I
permutate the series 1,2,3,4, I get twenty four unique combinations. Eg.
1234, 1243, 1324, 1342, 1423, 1432, 2134, 2143, etc. Let the numbers
represent your fingers. I then start at any position on the guitar and
begin on the first string playing one of the combinations, work each of the
strings to the sixth, then back down again. It's tremendous exercise for
both the hand and the brain. My taps and pulls have never been clearer or
more accurate. Endurance is increased as is speed. The permutations can
be played over simple scales like the diminished, four notes per string,
with unusual and beautiful results.
Another simple technique I learned from an old guitar teacher. Try playing
on only one string. Imagine playing (a somewhat limited) lead to your
favorite tune on only one string. One can't help but learn the secret
behind the scales: the intervals. They change as the cords go by. Playing
on only one string trains the brain to intuitively change the scale based
on the intervals it hears. Try it!
My apologies for being so long-winded.
Mitch
----------
From: "Glenn Astarita"
Subject: Re:Bruford
Date: Sun, 6 Apr 1997 09:30:46 -0500
>
> Bruford contributed an original song to the Buddy Rich tribute album
> organized by Neil Peart. (Great big band album, BTW!) He also appears
> on the "Genesis Revisited" album by Steve Hackett, released in Japan
> only so far. He's also done some other sessions that haven't appeared
> yet, such as the long-awaited (and now on-hold) new U.K. project. I've
> heard rumors that he is working on a new (non-Earthworks) solo project
> currently.
>
> --
> Have fun!
>
> Roy DeRousse (relayer@iname.com)
> St. Louis, Missouri, USA
>
> ----------
Also, Bill Bruford has been very active touring and recording with King
Crimson. I'd say that KC has been his mainstay since 1994.
glenn
----------
From: MrBERWELL@aol.com
Date: Sun, 6 Apr 1997 19:28:33 -0400 (EDT)
Subject: Johnson, Sverrison
Let us not forget the great record by Gordon Beck, "Dreams", (produced by
Allan Holdsworth..) features the Master Jimmy Johnson. It also features
Rowanne Mark on vocals.
I will also stick up for Skuli, he is a great bassist, and great all around
muso. I saw him give a solo bass performance at the Knitting Factory about a
year ago. It was very textural, he utilized delays, lots of reverb, an
e-bow, and some other tricks, to come up with some really "new" music.
----------
From: Jeff Preston
Subject: Learning the ropes / The FAQ is your friend!
Date: Sun, 6 Apr 1997 22:01:59 -0600
>Date: Thu, 3 Apr 1997 09:48:16 -0500 (EST)
>From: "Donald J. Lacombe"
>Subject: Holdsworth Transcriptions....
> Greetings to fellow Atavachron Digest readers! This is my first
>posting to the digest and wanted to let everyone know how much I enjoy
>it....:^).
Glad to hear it. Welcome aboard!
> As a huge fan of Allan's music (and guitar player) I'm very much
>interested in transcriptions of Allan's music. I'm familiar with all of
>the common things out there but I was wondering how fellow readers of the
>digest feel about this situation. I've tried transcribing some things on
>my own, but don't have the equipment (i.e. digital phrase sampler) to do
>an adequate job.
There *is* an affordable solution, though -- and through
June 30th, 1997, it's even *more* affordable for Atavachron
subscribers. From now until 6/30/97, you can purchase Riff
Technology, Inc.'s RiffMaster digital music study recorder
for only $150.00 + s/h (a 25% discount), just by mentioning
the Atavachron digest with your order. Check out the
RiffMaster's specs at:
http://www.gbase.com/rifftech/
Riff Technology, Inc. is a sponsor of Atavachron, so if
you're in the market for something like this, and you enjoy
the digest and Web site, you can feel good knowing that
your purchase is helping make Atavachron possible. Okay,
end of shameless plug. ;)
> I've seen countless tablature books for some very dubious bands
>(who shall remain nameless) but have yet to see the same for Allan's work.
You haven't looked at the Atavachron FAQ (Frequently Asked
Questions) file, then. Since many contributors and I have
spent *scores* of hours assembling it, I would be eternally
grateful if you'd take a peek at it. :) It's located at:
http://www.addimension.com/atav/docs/faq.html
You'll be in for a pleasant surprise, since the items you
seek are mentioned in detail in the FAQ. Happy surfin'! :)
Jeff
----------
Subject: Re: Wardenclyffe Tower?
Date: Mon, 7 Apr 97 06:54:18 +0100
From: Dave Milnes
>Date: Sat, 5 Apr 1997 01:52:32 +0000
>From: m58ml46e@students.su.se (Michael Linderoth)
>
>Hello ,
>this is my second attempt at commmunication at the Atavachron site. What is
>the story behind the name Wardenclyffe Tower?
>
>Best
>
>Michael
>Linderoth
The sleeve of the album gives a clue; I too was curious, and finally
picked up a book about Nikola Tesla (if can find the title it will appear
later in this message!). Tesla set up a research facility on Long Island
NY and built a huge wooden tower carrying an enormous spherical
construction radiating spikes, which he planned to use in his experiments
into the wireless transmission of electrical energy ( i think). Yes,
you've guessed it, the sleeve artwork features a line derivation of a
photograph of the tower.I've found the book- 'The Fantastic Invention of
Nikola Tesla' (additional material David Hatcher Childress) pub.
Adventures Unlimited, Illinois. It has a few more pix of the Tower,
details of what he got up to, and what became of it when Tesla went
bankrupt. Apparently nothing remains today, unless any of you living on
Long Island know any different ?
What a broadly-based group this is!
Best wishes once again from the land of Tetley Bitter
Dave Milnes
(PS Sand was my first AH album; the 'Bradford Executive' solo is surely
to die for ?)
----------
Date: Mon, 7 Apr 1997 10:59:54 +0200 (MET DST)
From: mark van schaick
Subject: Re:
Concerning all the posts on Jeff Berlin: I loved Jeff Berlin in John
McLaughlin's Trio (Trilok Gurtu was the third member, of course) in the late
eighties. I have seen them perform in Amsterdam, but to my knowledge they
didn't record together. I know there's a live album out on JMT (1990), but I
have a feeling it has either Kai Eckhardt or Dominique Di Piazza on bass.
The latter is to be heard on Que Alegria, the studio album by the trio
(Verve 1992). Does anyone know of McLaughlin-Berlin recordings?
Some Berlin stuff I enjoyed immensely is on Richie Kotzen's The Inner
Galactic Fusion Experience, out on Shrapnel in 1995. As usual with Kotzen,
this is a highly instable collection of songs and song-ideas, but it's got
Jeff Berlin on three tracks: Pulse, Dose and Ultramatic. Supported by a
great Gregg Bissonette, these tunes alone are worth buying the album. Maybe
their themes lack in depth, but the playing is great - especially the way
Bissonette and Berlin lock in.
As far as Bruford is concerned: hopefully Merdad Parsey is aware of the fact
that King Crimson re-united and recorded three albums over the last years.
(Vrooom, which is a mini-album, Thrak and Live Thrak.) In between things
with King Crimson he played a few amazing shows as member of a
drums-percussion supergroup, featuring Chad Wackerman, Luis Conte and Dudu
N'Diaye Rose in The Netherlands. Unfortunately, none of that has been
released, although recordings have been made by Dutch radio.
By the way, any of you interested in Gary Novak's recording history should
listen to Dave Weckl's solo-CD Heads Up. Why? Good question; maybe because
it has Gary on bass and keys...
Bye,
Mark van Schaick
----------
Date: Mon, 7 Apr 1997 09:12:36 -0400
From: guillaume
Subject: concert price in france
Hey, in France the minimum price to see a concert (national or international
artist) is around $20-26. I paid $27 for ,the last AH concert in Paris...and
it wasn't expensive...it could be (with Pat Metheny, Miles,Keith
Jarrett...in fact, for a "more notorious" artist) aronud $30-40...and I had
to do 1000 km to see AH (Marseille-Paris)...so the price of the concert
wasn't the limitant factor...and when you see someone you like as AH once
every three or five years, try not have money problem :-)
ps : I feel my english isn't good to day, excuse me... :-D
pps : I find the cd of PAZ by the FNAC IMPORT SERVICE... next time I'll give
references... for french atavachronist (If they exist).
I'll give you too the reference of a compilation made by Amsterdam Drum
festival in 1990 (edited by CBS) where the tune "stories to tell" of Stanley
Clarke appears.
salut la compagnie***************************guillaume*****************
----------
Date: Mon, 7 Apr 1997 08:20:46 -0800
From: tduggan@ttsd.k12.or.us (Tom Duggan)
Subject: Jeff Berlin
Well, after reading the other posts regarding Mr. Berlin, there are some
other recordings not listed recently.
Berlin plays three tracks on Ritchie Kotzen's CD Intergalatic Fusion
Experience. I have hesitated on buying it thus far, as my CD budget is
woefully inadequate, and this CD is relatively easy to find. The only
Kotzen CD I have is his self-titled first, recorded when he was a teenager.
He is technically a very good player, but on this first record I think he
wants to be Steve Vai a little too badly. Actually, he does a pretty good
job of it. This record may win the "Most Notes Played On a Debut Album"
award. And...to be fair, he may have grown into his own sound...anybody
know?
Also, don't forget Bruford's "The Bruford Tapes" (a live CD) and "Gradually
Going Tornado." Although AH is not there, the "unknown" John Clark does an
OK impersonation, albeit kind of like O'Douls instead of Guinness....well
maybe not that bad, but he's definitely NOT AH. Anyway, Berlin is great
with the exception of his singing on the Tornado album. I've heard worse,
but it's not exactly mellifluous.
Later,
TD
----------
Date: Mon, 07 Apr 1997 13:20:30 -0700
From: Francisco Pablo Espinoza Estrada
Subject: IS HOLDSWORTH'S MUSIC...HMMM... SEXY?
Dear Holdsworth-people,
> From: Steve_Vaughan@ilink.demon.co.uk
> Date: Thu, 03 Apr 97 08:44:48 GMT
> Subject: Jimmy Johnson on Steve Tavaglione album
>
>
> Jimmy Johnson is on three tracks on Steve Tavaglione's album "Blue
> Tav". He co-writes one of these tracks, which features Holdsworth on
> guitar. Damn good track too.
That track is called 'Tsunami' and it's a very cool boogie with Allan
soloing on guitar and then Synthaxe. I don't know which is cooler though, Allan or
Vinnie Colaiuta, who absolutely SHREDS here !
> Actually, the entire album's pretty good, even if it is a bit of a
> "CV" album (that's resume for the lingually challanged). Not easy to
> find though.
This album is indeed good, but suffers a bit from the 'L.A. sound syndrome'
(Must be David Garfield). Cool things about it: Vinnie Colaiuta's 'pocket' playing,
Michael Landau's hot rhythm guitar playing, Tavaglione, who is good as usual
(although I prefer his work in Gary Willis' 'No Sweat'), and one tune, a fonkin'
Prince rip-off called 'Uncle Oil'.
> From: Damflevy@aol.com
> Date: Fri, 4 Apr 1997 09:50:40 -0500 (EST)
> Subject: Jeff Berlin
>
> I hear that there have been inquiries about what Jeff Berlin is up to. I am
> happy to say that you should see a new disc from him, on DENON, hopefully by
> september. He is playing with Cliff Almond, Scott Kinsey, Howie Shear.
Great !! Very Good news ! Berlin and Kinsey together ?? I guess some
serious FONK is on its way !!
> Date: Fri, 04 Apr 1997 08:28:31 -0800
> From: Scott Steele
> Subject: Time is not necessarily the key
>
> Allan's appearance on Time is the Key is fleeting - he plays a solo on one song,
> and it's highly "treated".
As I said last time, Allan solos on two songs. And the untreated solo (on
'Arabesque') is really good (for the time). I'm not sorry for getting 'Time is the
Key', but then, it only cost me $5....
> Date: Sat, 05 Apr 1997 03:17:48 -0800
> From: Francisco Pablo Espinoza Estrada
> Subject: BERLIN HITS THE GONG
>
> This is fun too !
>
> http://www.playerschool.com/music-ed/bio.html
As you can see, here's a guy who doesn't care getting spoken endorsements
from other artists ! Paraphrasing Mr. Michael Hughes, Jeff Berlin's meat is Allan
Holdsworth's poison.... I wonder if they ever had lunch together.. :OP
Changin' the topic, has anyone here ever heard the work of British
guitarist Billy Jenkins ? I'm also interested in checking out Derek Bailey. What
are your thoughts on them ??
Finally, a strange question... As we all know, SEX is present in a wide
variety of musical material. For example, I heard Ben Webster the other day and
foul, impure thoughts of rampant lust filled my adolescent mind. The question is:
Is there any sexual content in Holdsworth's music ? Is this analog to asking about
romantic content in Zappa's output ? Please help me solve this !
Enough Caca, adios atavacronios !
Francis Thorny
----------
Date: Mon, 07 Apr 1997 12:14:38 -0700
From: Bertrand Deprez
Subject: Gong
Hi everyone,
Mark Jordan was inquiring about Gong albums. I would like to recommend
"Pierre Moerlen's Gong" Live. It was recorded in Paris and London(feb&
March 1979).
Personnel: Pierre Moerlen, Hansford Rowe, Mike Oldfield, Bon Lozaga,
Francois Causse, Didier Malesherbes(Bloom), Benoit Moerlen.
The tunes are: Downwind, Mandrake, Golden dilemma, Soli, Drum solo(super
great), Esnuria, Crosscurrents.
Although Allan is not on this album it has a good Jazz-rock feel. In my
opinion Bon Lozaga sounds good playing Allan's solos. The highlight of
this album is Drums and percussions, so if you are a Pierre Moerlen fan
this album is a must.
Although it is a french import, it is easily available through
audiophile imports.
Enjoy!! Bertrand Deprez.
----------
Date: Mon, 7 Apr 97 22:32:19 PDT
From: imartin@ilink.nis.za
Subject: Albums that led me on a path to Holdsworth
Jeff,
Please flame me, if I am sending mail to Atavachron group incorrectly. I presume I don't reply
to the message sent regularly to me but create a new message?
You're doing an incredible job keeping those of us out in the darkest fringes of Africa up to
date with what's happening with Allan. Thank you.
Unless you are interested in the ramblings of a noodler giving a personal list tracking
influential albums in his musical journey to the discovery of Holdsworth, jump to the next
subscriber.
My earliest musical memories are of Bagpipes and drums, e.g. Black Watch, Edinburgh Police band,
Military bands (various). This influence remained well into my teen years. This was all the
music that was played at home (Quite strange for someone living in South Africa). The first
popular album I remember was Simon and Garfunkelās ĪBridge over troubled waterā. I was about
eleven and can remember being emotionally moved by the harmonies on this album. During my teens
I listened to the top twenty pop charts and it was only as a sixteen year old that I first heard
the Beatles ĪSgt. Peppersāalbum. Although always interested in music, I now realised for the
first time that there was a plethora of different styles and artists out there.
The following albums bought chronologically over the last 20 years all had a major impact on my
musical listening habits:
1. Queen ĪNight at the Operaā First heard 1977.
As a teenager, I ended up purchasing most Queenās albums chasing as much of Brian Mayās
underated guitaring as possible.
2. Boston 1978
3. Kansas ĪPoint of Know returnā and Jethro Tull ĪStormwatchā (First heard 1980)
Both of these albums introduced me to lengthy instrumental sections which fascinated me. For me
this was a stepping stone to listening to rock jazz. I ended up with all Kansasās albums.
4. Al di Meola ĪCasinoā (First heard 1980)
Perhaps one of the most influential albums in my education. Up till this album, I had thought
the likes of Brian May (whom I still greatly admire) and Phil Ehart (Kansas drummer), were the
most technically proficient musicians in the world. Al di Meola, Steve Gadd and Anthony Jackson
literally destroyed all my limited ideas about music. I mentioned to a drummer friend how
wonderful Al di Meola was. I asked if he knew if there was any more of this type of music. ĪHad
I heard of Bruford, Holdsworth and Berlin?ā he asked. ĪWho?ā was my reply. So he lent me the
next album on my list, which I illegally taped. (Hopefully, Iāve made up for this transgression
through purchasing the album later plus the entire Holdsworth discography.)
5. Bruford ĪFeels good to meā (First heard 1981) How do you explain the excitement on hearing
something that astounds,baffles and enthralls at once. This album had a profound influence on my
views on what is possible. I had to hear more of this unusual,unique guitar sound.
6. Chick Corea Ī3 Quartetsā I loved Gaddās playing and so bought this album without listening to
it. What a shock to someone who thought Kansas was almost a jazz band. I hated this album for a
week back when I bought it in 1982, and now it ranks as my all time great jazz record in my
collection. It introduced me to whole range of new friends; Chick, Eddie, and Michael.
7. Allan Holdsworth ĪRoad Gamesā I surely donāt have to say anything more... Warner Brothers,
why the hell havenāt you released this on CD? Since this album Iāve searched the globe
collecting all albums with Allan playing.
My favourite twelve albums, in no order of priority are:
John Scofield ĪBlue Matterā
Allan Holdsworth ĪMetal Fatigue
Chick Corea ĪElektric Band
Dixie Dregs ĪBring Īem back aliveā
Phil Keaggy ĪCrimson and Blueā
Chad Wackerman Ī40 reasonsā
Michael Brecker -his first solo album entitled Michael Brecker
Stevie Ray Vaughan ĪCouldnāt stand the weatherā
Eric Johnson ĪAh via Musicomā
Yes 90125
Chick Coreaās 3 Quartets
Allan Holdsworth ĪNTSā
-------------------------------------
Name: IAN DOUGLAS MARTIN
E-mail: IAN DOUGLAS MARTIN
Date: 07/04/1997
Time: 10:32:19 PM
This message was sent by Chameleon
-------------------------------------
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----------
Date: Tue, 08 Apr 97 11:42:56 EST
From: "Mark Jordan"
Subject: Gong and UK
Hi all
Thanks much to everyone that replied to my questions re GONg and "Time
is the Key". Although I have and love Gazeuse and Expresso II I think
I'll pass on TITK (unless I can find it for about $5).
>Had an opportunity to sample some forthcoming live UK albums circa
>their first tour today, via Progression magazine. I'd have to give
>it a miss, the mix is awful, John Wetton's majorly flat all over the
>place, & the performances are uneven all around. Just thought I'd
>share! -dainis
UK was the first place I heard AH and I absolutely love their albums
(the first one more so because of Allan and Bill). Reading Dainis'
comments I'm not really surprised. I heard a live performance of UK
(with AH and BB) and John Wetton was hopeless, his bass playing was
really inconsistent and he forgot probably close to 40% of the words
and just sang crap instead. (The days before teleprompters but not
before pen and paper). Everyone else was pretty good although Jobson
was way too loud but this could be the mix. I can see why AH and BB
didnt stay for long. I got really excited when I heard/read rumors
about the UK reunion but if it's bad they should have just left it
alone.
Regards
Mark Jordan
----------
From: "Blum, Marc"
Subject: re: don't like SAND
Date: Tue, 8 Apr 1997 08:57:20 +0200
hi everyone,
huh..what did I did?
by posting, that SAND isn't my favourite AH-album, a stormflood of
"..but I like it!!!" "It's wonderful!" etc swappt over me.
stop stop
the truth is: if I buy a new album (what I do more often than my
moneybag allows) and after hearing it several times and after hearing it
again some months later...and if I don't feel the NEED TO HEAR IT
AGAIN...then I think I don't like it
this happened to SAND
...and now for something completely different:
there is much posting 'bout guys like vernon reid etc.
what about PAT MARTINO?
for me, he's trouly one of the greats...even my wife, who is NOT into
jazz, likes him (if he don't play that faaast and hard-boppin')
what about MIKE STERN?
greetings
marc
----------
Date: Tue, 08 Apr 1997 11:23:28 -0400
From: Spencer Seidel
Subject: re: Wardenclyffe Tower
>Date: Sat, 5 Apr 1997 01:52:32 +0000
>From: m58ml46e@students.su.se (Michael Linderoth)
>
>Hello ,
>this is my second attempt at commmunication at the Atavachron site. What is
>the story behind the name Wardenclyffe Tower?
>
>Best
>
>Michael
Michael,
Wardenclyffe Tower was built by Nikola Tesla (in Conn.) in order to
transmit power wirelessly all over the globe using the upper layers of
the atmosphere as conduction channels. Unfortunately, due to dubious
business advisors, investors, (?science?), etc., the idea was never
realized and construction was halted. For more information, I suggest a
biography of Nikola Tesla by Margaret Cheney named "Tesla: Man Out of
Time".
Spencer
----------
Date: Tue, 8 Apr 1997 15:29:00 -0700
From: burgnut1@loop.com (Brian Mastalski)
Subject: I'm here! Fire up the handpumps!
Greetings fellow Holdsworth fanatics! This is my first time posting so be
gentle......
First, a bit of backround, in which I attempt to interview myself........
I was born and raised in Sacramento, Ca. and currently live in Pasadena,
SoCal. By age 6 I was addicted to the Beatles, the Beach Boys and A.M.
radio, and have been a music fanatic ever since. I've been a professional
bass player for over 20 years, in just about every kind of band you can
think of. I first saw/heard Allan back in '78 (in Sacramento, warming up
for Al Dimeola anyone?). I was already a huge fusion and prog-rock fan and
was immediately a fan of UK and later Bruford but the big event was Allan
going solo. When IOU came out it blew my mind; it was as if a whole new
language, a new sound was invented! Since then i can honestly say that the
music I've listen to most is Allan Holdsworth.
Some of my favorite musicians: Allan Holdsworth, Jack Bruce, Joni Mitchell,
Jimi Hendrix, Chick Corea, Peter Gabriel, Bill Bruford, John Lennon, Kate
Bush, Rickie Lee Jones, Jaco Pastorius, Don Van Vliet, Frank Zappa.....
Some of my favorite groups: Beatles, Cream, Genesis, Weather Report, King
Crimson, Brand X, Husker Du, Yes, Mahavishnu Orchestra, Little Feat, XTC,
Jethro Tull, Steely Dan, Geggy Tah, Tribal Tech, Soundgarden.......
Number of AH shows I've seen: over 20
Favorite AH record: Are you kidding? They're all great!
Favorite bassplayer with AH: Well, Jeff and Gary and Skuli are all great
but theres something special about Jimmy Johnson. I've seen/heard him in
many situations and he constantly amazes me.
Dream AH concert: Allan backed by Jack Bruce and Tony Williams, doing all
the old vocal tunes!
Main interest other than music: Wine--especially Burgundy. Any
wine-drinking AH fans out there?
Well, Enough blah about me.....on to part two: The Catalina Shows>>>>>>>>>>>
**LIFE IS GOOD** -----Theres alot to complain about living in LA, but one
of the good things about it is I get to see fantastic musicians on a
regular basis: Scott Henderson, Billy Childs, Vinnie Golia, Frank Gambale,
Nels Cline and, if the gods are willing-- Allan Holdsworth! I was
fortunate to be able to catch 2 shows at the Catalina in Hollywood, Ca.
this time: 2/27, first show and 3/3, first show. For some reason, Alan
Pasqua didn't make it that wednesday night like he did the rest of the
week, so they played trio. Needless to say, they sounded fantastic! They
opened with a new tune, a very cool uptempo thang, one of three new tunes
that night! Allan used the Roland VG synth-like tone in many solos,
sounding like a synthaxe. And what a KILLER rhythm section-- certainly the
most dynamic he's ever worked with! For those of you not familiar with
Dave Carpenter, he has quite a rep around SoCal as the hot jazz bass guy.
He plays great standup and can swing like a mother, and lately I've seen
him playing electric on some kickass shows with Scott Henderson. Besides
having the prerequisite monster chops and unreal harmonic knowledge, his
ability to play chords on his 6 string electric make him the perfect choice
in this trio situation. He was actually playing AH spiderfinger
stretchcords on the bass behind Allans solos! I'd love to hear him on the
next album. And Gary Novak was certainly a different kind of drummer for
Allan, kinda jazzier with a great sense of dynamics; he gave tunes like
Looking Glass and Funnels a cool, intimate feel and could certainly burn
when he wanted to. Great ears, very supportive. Highlights were the new
tunes, a burnin' version of Water on the Brain pt. 2 (killer bass AND drum
solos) and the second encore- Tokyo Dreams, a very cool version with a
kinda groovy swing thing for the vamp chorus. Allan seemed very relaxed
all night, and hung at the bar between shows. No mention of Tony
though.....
Sunday night!! The room is PACKED!!!! I'm sitting in the back next to
Jimmy Jonhson and his friend. I didn't want to bug him too much but we
talked briefly. He didn't have any upcoming projects to tell me about,
just the usual session work. We talked about the great show he and Gary
Novak did backing up Billy Childs at UCLA. He seemed to really enjoy the
show but kept a low profile and bolted at the encore.
The Show was AMAZING!!!!!! Of course Alan Pasqua was there, playing
acoustic piano only, adding jazzy, sometimes outside accompaniment. The
setlist was similar, but this time Allan talked about Tony Williams and how
much he ment to both him and Alan. Then Alan Pasqua played a long,
gorgeous piano intro that went into Tony's "Wildlife". It was an
incredibly powerful moment; Allan's interpretation of the head was sweet
and mournful, and most of us in the room were pretty choked up at that
point. They finished the tribute with a blazing version of Proto-Cosmos,
of course. Both nights included a killer improv, which was even better
with Alan Pasqua. They didn't get to Tokyo Dreams that night but no
matter, it was an incredible show and we were all in musical nirvana by the
end. Afterwards, I spoke to Allan briefly and among other things asked as
diplomatically as possible when a new album will pop up but he politely
declined to comment. But he was in a friendly mood and was looking foward
to the European shows.
Well, there it is--my report on the shows: better late than never! I've
got a million AH stories to tell but I'll save it for subsequent posts. I
welcome any corrospondence on any of the above content. Till then my new
friends...
Peace,
Brian
----------
Date: Tue, 8 Apr 1997 23:39:33 -0400
From: "Robert C. Parducci"
Subject: Tony Williams
I would like to recommend Tony Williams "Angel Street". A friend gave me
this CD along with Miles Davis "Pangaea". Neither recording is the type I
would normally buy, which is one reason why it is important to share music
with your friends. "Angel Street" is a well-produced, straight-forward
jazz outing featuring compositions by Tony Williams. It can be appreciated
by anyone who has their ears open to acoustic music.
I also wanted to direct Atavachron readers to an article that originally
appeared in the New York Daily News.
-------------------------------------------
He Was Greatest Jazz Drummer You Never Knew
In a sense, that was the problem that Tony Williams had with the world
at large. He was one of the greatest musicians America produced after
1960, but he never got the mass fame that he came to believe his
superior talent deserved.
It was spring and a new Miles Davis record was playing.
Suddenly, I heard a drummer start playing a solo that was different from
anything I had ever listened to, in person or on record. What this guy
was playing had a different sound. All of the drums were tuned to get a
unique color and the cymbals were touched with the sticks so
expressively that they were as distinctive as the sound of a very
individual speaking voice.
Who the hell was that?
"Anthony Williams on drums," the disc jockey said. Then I began reading
about him in jazz magazines. He was this 17-year-old wonder that
saxophonist Jackie McLean had discovered. This guy was the talk of New
York. He was turning everybody around. He wore a yellow suit and brown
shoes, looking like a little boy but playing like a man of genius.
On brilliant Blue Note Records with Jackie McLean, Andrew Hill, Sam
Rivers, Grachan Moncur, Herbie Hancock and Wayne Shorter, and on 13
Columbia recordings with Davis, his innovative influence and virtuosity
added a new level to jazz drums during the '60s.
In the last decade of his career, however, he led a strong quintet,
playing like a lord of subtle thunder during his final engagement at the
Village Vanguard. One could hear then the great love he had for his
instrument and for music and what he could say to his audience through
his drums.
No matter his frustrations, no matter his worst moments, the glory he
gave to American music stands above all else. We were lucky to have him
here and, someday, you may come to know just who Tony Williams was.
Original Story Date: 02/26/97
http://mostnewyork.com
-------------------------------------------
Can you remember those warm summer nights
Sitting in the park until the morning light
And that feeling. Girl, it takes me to wonderland
How I cherish this moment being your man
- Khalife
LEGEND: In Our Own Time
http://ourworld.compuserve.com/homepages/rcp/
----------
Date: Wed, 9 Apr 1997 02:23:07 -0400 (EDT)
From: JCMAILDROP@aol.com
Subject: Re: BOUNCE atavachron@webster.com: Approval required
Jeff,
I read my first posting (I am a little behind the times) and noticed
your comment regarding my Road Games petition mention. Do you have any specifi
c instructions for contacting Warmer Bros. on this matter yet?
My apologies to R Lynn Rardin for using my screen name. My name is John.
I was still wondering about other people's related or reccomended
listening (besides the Holdsworth discography) preferences and whether or not
some space dedicated to those thoughts would fit in somewhere. For instance,
Gary Willis plays on None Too Soon. Plays with Tribal Tech. Has a solo
project out currently, etc.,..
I received e-mail from someone who read my mention of Individual Choice
(JLP) in my posting. He asked me if I considered it reccomended listening and
said that he would be more interested in it if it was not "straight jazz". I
reccomended it to him.
I grew up listening to mostly classic rock, progressive rock and heavy
metal music when I was younger (I lacked an enlightened musical mentor at the
time). After being exposed to a wider range of music, especially jazz, my
tastes began to change. After playing traditional jazz with other musicians I
came to appreciate the depth of it and had a major shift. Long story short,
here is a list of some of the albums that were not "straight jazz" that
turned my ear from rock to other things:
Jean-Luc Ponty - Individual Choice, Enigmatic Ocean, Civilized Evil, etc.,..
Bruford - One Of A Kind, Feels Good To Me, Gradually Going Tornado
Allan Holdsworth - I.O.U., Road Games, etc.,..
King Crimson - Beat, Discipline, Three Of A Perfect Pair, etc.,...
Mahavishnu Orchestra - Between Nothingness and Eternity, etc.,..
Return To Forever - The Best Of Return To Forever, etc..,.
Al Dimeola - Electric Rendezvous, etc.,..
Pat Metheny Group - Offramp,etc.,...
Frank Zappa - Ship Arriving Too Late To Save A Drowning Witch, Man From
Utopia,
Weather Report - Heavy Weather and Black Market, etc.,...
Keep in mind these are just albums that people turned me on to or had
just been released, around the early eighties. These albums were my crossover
albums from rock to jazz (I would reccomend all of them). One Of A Kind
really consumed me when I first heard it, that is probably the most
influential album of that period for me.
So, this stuff is Allan related in a way. Does it have a place in here?
Besides my selfish desires, I also mentioned this for the reader who e-mailed
me with the Individual Choice inquiry and the wish to avoid "straight jazz".
I would guess that other reader's may want to tap the knowledge and
reccomendations of the people in here. I am sure that the "straight jazz"
people would have some great lists. I also know that there are many current
CD's out there that some people must not know about and others do not. What
do you think?
John
P.S.
I was just listening to the guitar solo on Hard Hat Area while I was
signing off - That is one of the most incredible guitar solo's that I have
ever experienced in my life, I had to go back, close my eyes and experience
it again - what a rush, every time...
----------
From: "David Asquino"
Subject: where is Chad Wackerman ?
Date: Tue, 08 Apr 1997 23:57:54 PDT
Hi guys,
i'm a great italian fan of Allan' s music, i have all recordings regarding him
and i saw his last great gig in Rome few days ago.
I'm a fan of Chad Wackerman too, can someone give me news about him?
I have his two CD "Forty Reasons" and "The View" (with Allan on guitar, what
about his incredible solo on "holiday insane" ? I think it' s one of his best.)
Bye
David
---------------------------------------------------------
Get Your *Web-Based* Free Email at http://www.hotmail.com
---------------------------------------------------------
-----------
Subject: Jeff Berlin
From: eric.denon@juno.com (Eric Lowenhar)
Date: Thu, 10 Apr 1997 10:26:53 EDT
Dear friends,
Here is some more information on the new Jeff Berlin disc, due in
september or october on DENON.
Musicians:
Scott Kinsey - Keyboards Clare Fischer - Keyboards
Captain Billy Lang - guitar Ron Eschete - guitar Cliff Almond
- drums
Alex Acuna - percussion Howie Shear - trumpet Roy Wiegand -
trombone
Dave Stout - trombone Rob Lockhart - saxophones
The working title is "Taking Notes"
The stuff I have heard from the sessions has been real good. If you are
expecting something along the lines of Champions or Pump It, well don't.
With the horns, Jeff's sound is definitely "funkier." The record is a
great fusion record. I have been calling it "Progressive Jazz" because
the sound is different. It is a very big sound, sort of straight ahead,
but with a contemporary feel. The record does not sound like the usual
fare you hear on your Contemporary Jazz or New Adult Contemporary
stations. There is a cover of Clapton's "Tears In Heaven" on it, but
there is also a cool solo rendition of "The Star Spangled Banner." There
are some originals that I really liked, such as "Miss Vicki."
I have been a fan of Jeff's for quite a long time, and was one of the
people here at DENON who pushed to sign him. I really do like the new
stuff, and I think many of his fans will too. We also have plans to
rerelease Champions and Pump It (maybe as a two for one), and are
looking into a deluxe rerelease on Players (with additonal music added).
These are just in the planning stages, so nothing is definite. I would
have loved to see a "Holdsworth" reunion too, with Allan, Bill, and even
Dave Stewart. Who knows what will happen in the future. We will
probably see Jeff reunite with T. Lavitz before that.
Thanks for your comments from my last posting. If you have any
suggestions, opinions, etc, please let me know. Also: I have been
finding out about this newsletter from a friend. Can you please add me
to the list. Thanks.
Eric Lowenhar
National Sales and Marketing Manager
Denon Records, NY
----------
From: Andrew_Munro@HSVPO.CCMAIL.CompuServe.COM
Date: 10 Apr 97 07:33:45 EDT
Subject: re:wardenclyffe tower
I hope I don't steer too far away from the main subject but I'd like to
put in my 20 cents worth.I have an interest in Nikola Tesla as well as
AH and there a few links between these men.The tower on the cover was
built around the turn of the century at Colorado Springs.Unfortunately
due to lack of interest/funding, the power transmission project never
took off and was eventually shelved.The beginning of the title track is
the sound of one of NT's power generators.The high voltage created by
these generators have never been surpassed,even in this day and age.I
remember reading an interview around 1992 where Allan felt he could
relate to NT in as much as being a man with great ideas and innovations
but people not being interested.Certainly men ahead of their time.
Look for a book called "Nikola Tesla:man out of time" by Margaret Chaney
first published 1980,though I bought my copy in 1993.Probably the best
written history of this man.(The official inventor of radio!)
Cheers Andrew.
[ Moderator's note: And also of alternating current! --JP ]
----------
Date: 10 Apr 97 17:58:23 +0200
From: "Pier Francesco MARINI "
Subject: ALLAN LIVE IN ROME
Hello people of Atavachron,
I've been at shows of Allan in Rome last week, I waited a while to
write something to be sufficiently "cold" after two "hot" nights...
Speaking with Allan I asked why he doesn't play any tune
from NTS, and he told me that "everybody is playing
standards, I'm not interested in doing the same stuff of
thousand guitarist, I like to play my music".
This has cleared in my mind the view I had of Allan's music:
he doesn't need to play standards because
HE IS SETTING THE STANDARDS!
His way of making music, tunes, approaching chords, improvisation
will be the "standard" for years to come...
This is the truth, guys, and listening to the concert this can be
grabbed easily...
This trio, expecially thanks to Gary, can do virtually anything,
changing rhythm in the same tune (from rock/funk to swing in
a couple of bars).
The "Letters Of Marque", "Shallow Sea" and "Looking Glass" versions, i.e.,
are really STANDARDS, Allan's standards... Maybe he doesn't know exactly
where he is going with his music, he is searching for something that
everyday find and the day before is "old"... This is why I love his way of
making music (and consequently his way of life).
I have a lot of "things" in my head, maybe I could be more precise next days,
that's all by now, let me know what do you think about these thoughts.
All the Bests,
----------------------------------
Pier Francesco MARINI
phone +39-(0)6-50261320 (hh.9-18 CET)
fax +39-(0)6-5018553
email pmarini@it.oracle.com
----------------------------------
----------
Date: Thu, 10 Apr 1997 19:46:36 +0200 (MET DST)
From: =?iso-8859-1?Q?=22Christian?= =?iso-8859-1?Q?R=F8rdam=22?=
Hi folks!
First of all:Thanks for all the tips about Jimmy Johnson.
If anyone's interested,I found a biography on him in connection with the
review/commercial for "The Colin Mandel Group"'s release.
This biography expresses about everything I feel about the guy.Adress:
http://home.earthlink.net/~lednammurco/Jimmy.html
I discovered that he also plays on Simon Phillips' "Symbosium"
together with Mike Porcaro and a guy named John Pe=F1a,who plays great.
Good news for AH,bad news for me:"None Too Soone" was sold out from
the record-store where I usually buy my jazz-fusion CDs.
Question:
Who is playing the last solo on "54 Duncan Terrace" ?
It sounds more like AH than Allan Pasqua,but the sound itself sounds
(to me,who is not an expert in this area) like piano with effects.
Especially the touch makes it sound a lot like piano.
That's all.
Christian.
--=20
----------
From: WDCKdarin@aol.com
Date: Thu, 10 Apr 1997 15:20:11 -0400 (EDT)
Subject: Wardenclyffe Tower
A few more comments on The Tower....
Tesla was being funded by Westinghouse until they discovered that he was
inventing a way to transmit electricity wirelessly for FREE. Then they
"pulled the plug". Can't make money on something that free, ya know.
----------
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/
The New Atavachron Digest 97/04/20
----------
Date: Fri, 11 Apr 1997 09:28:05 -0500
From: Mike Coughlin
Subject: gary husband news
hi all (especially those i met on the netherlands leg of the tour, i'm slowly
getting around to getting in touch w/ everyone...)
just a quick note, i saw on a gary moore page that his new record
features gary husband on drums...not much info but was said to be a
"new direction" for gary(moore).
----------
Date: Fri, 11 Apr 1997 07:52:39 -0700
From: Joseph Barbarotta
Subject: Level 42
AH plays a great solo on the tune "A Kinder Eye" from the album
"Guaranteed". Does anyone know for sure if he plays on any other tunes
on this album? If he does, I can't tell.
[ Moderator's note: Yes; Allan also appears on "Seven Years,"
"She Can't Help Herself," "If You Were Mine," and "With A
Little Love." You couldn't *tell*? :) He's mixed somewhat
low on almost all of the tracks, but his lines are, IMO,
unmistakeable, especially after the first verse in "With A
Little Love" -- *classic* Holdsworth. --JP ]
----------
Date: Fri, 11 Apr 97 22:46:16 UT
From: "Timothy Messer"
Subject: Chad Wackerman
>From: "David Asquino"
>Subject: where is Chad Wackerman ?
>Date: Tue, 08 Apr 1997 23:57:54 PDT
>
>Hi guys,
>i'm a great italian fan of Allan' s music, i have all recordings regarding
him
>and i saw his last great gig in Rome few days ago.
>I'm a fan of Chad Wackerman too, can someone give me news about him?
>I have his two CD "Forty Reasons" and "The View" (with Allan on guitar, what
>about his incredible solo on "holiday insane" ? I think it' s one of his
best.)
Chad Wackerman moved to Sydney, Australia several years ago. His wife, Naomi
Star (who sang on "Wardenclyffe Tower"), is from Sydney. I believe that he
continues to work extensively in the US and Europe. He also has his own band
here.
Regards
Tim Messer
Messer_in_Law@msn.com
----------
Date: Sat, 12 Apr 97 21:17:10 PDT
From: imartin@ilink.nis.za
Subject: John Clark query?
A question in response to a posting that refered to the guitarist, John Clark who played with
Bruford on 'Gradually going Tornado' and the Masterstrokes compilation album.
Last year I accompanied my wife to concert here in Cape Town to see the British pop legend,
Cliff Richard (Please, not exactly my scene, but I did enjoy the concert). During the rockier
tinged numbers and ballads like 'In the distance', I heard some really surprisingly impressive
guitaring and tasteful solos with a definite Holdsworthian-like tone. I was quite pleasantly
surprised with this guitaring and then read it was a guitarist called John Clark. In this
strange world, could this be the same John Clark that once played in Allan's place on the
Bruford Tapes?(This guitarist looked as if he was in his forties, so the age and nationality
fits?)
On another note: great to hear all the reviews of the concerts. (I just become
a little more desperate for an official release of a live concert or two knowing that it's only
a miracle that will get Allan to ever play in South Africa!)
Regards
Ian
E-mail:imartin@ilink.nis.za
Date: 12/04/1997
Time: 09:17:10 PM
----------
Date: Sun, 13 Apr 1997 13:30:13 -0500
From: rbisson@courrier.usherb.ca ( =?iso-8859-1?Q?R=E9mi?= Bissonnette)
Subject: Hellborg/Lane/Sipe gig
Hi Atavachronists,
=46irst off, please forgive me that this posting is not very much
Holdsworth-related; however, I think most of you will understand my
situation and can relate to it! So anyway, here goes: yesterday
(97/04/12), I went to a local Guitar/Bass Fest (in Montreal, PQ, Canada),
and I met a guy who told me that in a week or two, Jonas Hellborg (with
Shawn Lane and Jeff Sipe) will be playing in the Vermont state area. Of
course, I'm dying to go see and hear players of this caliber, and the thing
is, if I don't go I might never get another chance, because this is as
close as they'll probably ever get to playing in Quebec -- sadly, good
musicians just can't get gigs here.
The problem is, I have no idea at which venue they'll be playing, or how to
get tickets, and I'm not sure of the date either (like I said previously,
'in one or two weeks' was what the guy told me), so I'm asking for help
from you people, since if anybody out there knows, one of you probably
does!
So if anybody on this list knows about this (or how I could find out more),
please send any and all info to me by private e-mail, as soon as possible.
Thank you very much for taking the time, and again, I'm sorry for the
non-Holdsworth content of this post.
[ Moderator's note: Check out
http://www.geocities.com/SunsetStrip/5146/
The only date I saw there in VT was April 28th at Club Toast,
in Burlington, VT. There were dates in NY and PA, too. At any
rate, that URL is the place for all Shawn Lane information --
it's maintained by a friend of Shawn's, btw. Excellent site.
--JP ]
Bruno Bissonnette
rbisson@courrier.usherb.ca
R=E9mi Bissonnette Ph.D.
Professeur titulaire
=46acult=E9 d'=C9ducation physique et sportive
Universit=E9 de Sherbrooke
Sherbrooke, Qu=E9bec
J1K 2R1
=20
----------
From: R.J.Heath@lboro.ac.uk (Richard Heath)
Subject: The Canterbury Connection: Itsnotreal
Date: Mon, 14 Apr 1997 17:44:21 +0100
Watch out Jeff this is a long one and maybe start off a fresh discussion or
two.
I just been browsing in the local university book shop and come across the
following book, in our very small music section: "Rocking The Classics" by
Edward Macan ( published by Oxford University Press, price: 17.99 US dollars
or 15.99 pounds sterling, for less than 250 pages including photos). It is
a book about progressive rock music and the blurb on the rear suggests it is
a definitive book on the subject, as well as having (approx) 50 words from
Keith Emerson saying how good and a valuable contribution it is! I wonder -
although I'll wait until it is remainder down to a sensible price in
sterling before reading in depth.
I said "browse", and what in particular caught my eye was the 10 or so
references to Allan Holdsworth in its index. Following one of these through
to the text, I found that AH is quoted to be a "Canterbury guitarist". And
God forbid, "Land of Cockayne" is sited in the discography at the rear of
the book.
SO A QUESTION TO ALL AVTAVDIGGERS: DO YOU AGREE WITH ALLAN BEING
CATEGORISED AS SUCH??
Being both a great fan of both AH and several of the Canterbury bands, I
personally don't agree that AH should or can ever be pigeonholed as a
"Canterbury guitarist". The Canterbury sound is largely to do the overall
band sound and the form of their compositions - there are detectable music
similarities in the bands listed below. The Canterbury sound stems from the
Canterbury/Ashford- (in English county of Kent), based Wilde Flower formed
in the early/mid 60's, which evolved into Soft Machine and Caravan (first
playing R'n'B, which went psychedelic, then jazzy), the former then
blossomed into Gong, based across the Channel in France. Further off-shoots
included Robert Wyatt's Matching Mole (which is transliteral French for
"Soft Machine"), Hatfield & The North and National Health. Bruford and UK
had perphiral connections partly through their ex National Health players
and in that Bill Bruford hailed from Tunbridge (Wells?), (30 miles or so
from Canterbury). When Henry Cow appeared on the scene (through John Peels'
"Rockatunity Knocks" competition), there were strong suggestions of an
avarte gard Soft Machine sound (which didn't last long) - even though HC
were reported to come from Pink Floyd territory (Cambridge). But even
mainstay Soft Machiners went off at avante garde tangents - e.g. Hugh
Hopper's "1984" or many of the Elton Dean albums, (yes, the guy who lent his
name to Elton John!!). [Hold it. I'm trawling some dodgey brain cells for
this info - so correct me somebody if I'm wrong]. In many respect I do not
think of Canterbury bands being guitar- lead or even featuring guitars for
much of their history. If you want to pinpoint any individual instrumental
sound, then look to the keyboards, or the vocalist adopting the
"anti-singing" approach, or the brass/woodwind being jazzy but normally
providing a background- fill. Dare I suggest the only guitarists who might
be labelled "Canterbury" include Kevin Ayers, Phil Miller and Steve Hillage
- but these gents have nothing similar in their styles to AH or Andy
Summers, who also played in SM.
With respect to Allan Holdsworth, there is no need to repeat what has been
written here in the "pages" of AVTAVDIG, (in how many millions of words?). I
guess most of us would agreed he is unique with a unique guitar voice - only
categorisable as "a Holdsworthian guitarist". Besides he come from Yorkshire
(200 miles from Canterbury), and you don't hear of John McLaughlin being
classified in such a way, or if come to that Robert Palmer*. The Canterbury
Scene FANZINE "Facelift" may have interviewed and created (one of the
original) discographies of AH's albums but this neither makes Allan a
Canterbury guitarist. But because John McLaughlin and Allan Holdsworth have
played with Jack Bruce does not makes them blues guitarists. One of my
decrepid brian cells hints at Allan being involved with the UK's National
Jazz Youth Orchestra (along with Jon Hiseman) before 'Iggenbottom's Wrench
or Tempest and almost a decade before Soft Machine - am I right?
(* Today's quiz: "Robert Palmer? Yorkshire? Guitarist? ").
As a fellow academic to Mr Macan, I feel I'm on dangerous ground for not
having fully reading this book but there is a clear, brief statement made
about AH being a Canterbury Guitarist. So academic authors, (especially
those dealing with rock-matters) have to be very clear (or be gently
informed) about not getting facts wrong - should I try to contact Mr Macan
and sort him out?
However, the definitive response must come from Allan.
A change of subject.
I would like to strongly recommend the new Nguyen Le "Three Trios" on the
Act label. This is my favorite album released this year, certainly from an
electric guitarist - with Niacin as the favorite keyboard record. Marc
Johnson, Pete Erskine, Danny Gottlieb, Dieter Ilk and others feature on the
album, (the latter two named apparently tour with Le). Nguyen is
Holdworthian in style at times but this forms only part of his repertoire
of guitar skills. Equally of interest is the incorporation of Eastern
compositional themes, and in a quite different way is as exciting a new(ish)
guitarist as Wayne Krantz. I have changed my opinion expressed previously in
these pages: Nguyen Le is his own man, not a AH clone. Rumour has it Nguyen
Le is playing in London during April /May, although the rest of his band has
not been announced.
Has anybody come across the odd pairing of artists tucked away on one track
of yet another "West Side Story" album; that of Chick Corea's Elektric Band
and Steve Vai's Monsters. And perhaps more importantly "the world's best
session drummers", (according the Scottish classical percussionist, Evelyn
Glennie), Simon Phillips and Dave Weckl are featured on the same track, "The
Rumble". Other tracks on this album tend to make it a stinker (especially a
certain diminuitive rock'n'roller doing "I Feel Pretty") - however, tape
"The Rumble" from any friend, who has been mad enough to buy the record, and
"marvel" in what can happen when pairings like this are thrown together.
Tony Williams:
1. Thanks to the gentleman who let me know that Tony William's "Joy of
Flying" is on CD - even if I have to go to Denmark to find it - UK is ever a
musical backwater to the record companies.
2. Mr Billeray and I have been privately debating whether Tony Williams
guested on (the Bill Laswell produced) Public Image Ltd's "CD" record, along
with Ginger Baker and Steve Vai. Alright, the thought of Tony Williams with
the arch-punker Johnny Lyden/Rotten seems totally wrong - but the old brain
cells have been twitching those memories. The liner notes apparently lack
detail. Can anybody enlighten us to the truth and help add more to the Tony
Williams discography?
3. There are ads in the press stating new Tony Williams album, post-dating
"Wilderness", out in UK soon.
4. Finally and sorry , I can't agree with recent correspondents' enthusiasm
about "Wilderness", to me it is as almost as as tired as Herbie Hancock's
"New Standards", when I expected much better things from that combined line-up.
Yours in a stream of conscienciousness,
Dick Heath
----------
Date: Tue, 15 Apr 1997 15:56:13 +0200 (MET DST)
From: =?iso-8859-1?Q?=22Christian?= =?iso-8859-1?Q?R=F8rdam=22?=
Subject: correction
Correction: Simon Phillips' record is called "Symbiosis",
and not "Symbosium" like I happened to write in my previous letter.
Also: I noticed that the "spanish" n didn't appear like it should,
just like the second letter in my last-name.
The former is supposed to be an 'n' with a '~' over it,
and the letter is supposed to be an 'o' with a '/' across it (Norwegian letter)
Enough boring stuff,bye.
Christian.
[ Moderator's note: Characters that aren't included in the ISO-8859 (?)
standard are not properly translated on the list, sorry. The standard
English alphabet, numbers and punctuation marks will translate okay,
but no guarantees on anything else! --JP ]
----------
Date: Wed, 16 Apr 97 10:29:56 EST
From: "Mark Jordan"
Subject: Brand X
G'day all
Just to digress for a short time. Is anybody out there into Brand
X/Landlords of Atlantis. Is there a WEB site for this band(s) or the
greatly underrated John Goodsall? If you have never heard them check
out MASQUES. This band have their own particular style of what could
be called Jazz Fusion (I hate that term but am at a loss for a better
one). Australia is still waiting for you Allan.
Regards to all
Mark Jordan
mjordan@awb.com.au
----------
Date: Sun, 20 Apr 1997 17:34:05 +0200
From: Calyx/Big Bang
Subject: Bruford's whereabouts
Hi,
In a recent KC digest (Elephant Talk), Adrian Belew mentioned that Bill
Bruford had recent recorded an album with (or rather backing, I suppose)
guitarist Ralph Towner. Towner is an excellent exponent of the 12 string
acoustic guitar (as well as piano) who's released many albums on ECM.
I was in London last week, and in the issue of "Time Out", there was
mention of a gig by "Rob Koral/Sue Hawker/Nick Ramm/Matt Miles/Bill
Bruford", stating that "Guitarist Koral and vocalist Hawker are joined by
special guest drummer Bill Bruford". Nice to see Bill jamming with obscure
jazz combos...
Lastly, I don't think KC keeps BB busy at the moment. All the members are
busy with other projects. Apparently, some new material will be premiered
live next Autumn, but the next album won't be out until late 98/early 99,
said Belew. So I guess the hypothesis of a new solo project is certainly
valid...
Aymeric Leroy
---
CALYX - The Canterbury Web Site
http://www.alpes-net.fr/~bigbang/calyx.html
----------
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