Allan Holdsworth (1946-2017)

[James]

This one hits very close to the bone for me, I loved this man and his beautiful music. One of my all time favorites, easy.

What a talent, what an inspiration and legacy. R.I.P.

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[Scion7]

His best work - the first Tempest album - will always be a landmark for his soloing edited down to the bare bone with no meandering.  The first UK album was darn tootin', too.

[Mirror Image]

His best work - the first Tempest album - will always be a landmark for his soloing edited down to the bare bone with no meandering.  The first UK album was darn tootin', too.

I guess you never heard his soloing on the Jean-Luc Ponty piece Nostalgic Lady or his solo on UK's In the Dead of Night.

https://www.youtube.com/v/ghUuhABWwHI

https://www.youtube.com/v/hMu7XUc9OcI

Nothing 'meandering' about either of these solos from Holdsworth IMHO.

[Mirror Image]

I used to really love this album (among others):

I will be familiarizing myself with a lot of Holdsworth's solo albums once I receive that box set.

Also, this classic album wouldn't be the same if Holdsworth hadn't contributed to it:

[Scion7]

I guess you never heard his soloing on the Jean-Luc Ponty piece Nostalgic Lady or his solo on UK's In the Dead of Night.

You would have guessed incorrectly.
I've heard everything he's done, even the more recent stuff, which I didn't care for much.
I was pointing out his very best work, not just the good stuff.

I also saw him in London with Tempest in '73 (and another guitarist on stage, Ollie Halsall - a transitional period in the band.)
and saw UK on tour here in the colonies.

[Mirror Image]

You would have guessed incorrectly.
I've heard everything he's done, even the more recent stuff, which I didn't care for much.
I was pointing out his very best work, not just the good stuff.

I also saw him in London with Tempest in '73 (and another guitarist on stage, Ollie Halsall - a transitional period in the band.)
and saw UK on tour here in the colonies.

What is considered 'best' is a purely subjective word and just because you believe his Tempest work is his 'best stuff' doesn't make it true for anyone else.

[James]

What is considered 'best' is a purely subjective word and just because you believe his Tempest work is his 'best stuff' doesn't make it true for anyone else.

Few would agree with his point of view. He's in minority for sure.

[James]

His best work - the first Tempest album - will always be a landmark for his soloing edited down to the bare bone with no meandering.  The first UK album was darn tootin', too.

Both of those are very diluted recordings, and not representative of what Allan was about - with the Tempest one he hadn't even found his true voice yet. They are not mature efforts. To get to the most undiluted essence of what Allan was about musically - as a composer, bandleader and earth-shattering improviser/soloist one has to dig into the solo albums (I.O.U. onward), the more electric-jazz oriented work (his big hero was John Coltrane!) ..  they are anything but meandering. They are groundbreaking and genius. His way with harmony, the group interplay, the writing, the unique chord voicings, the mind-boggling solos, the advancement/refinement of his revolutionary ultra-lyrical legato technique etc ..

The most important record/work he did prior to his work as a solo artist was Believe It! with the incomparable genius Tony Williams. He learned a lot there and looked back fondly on this moment more than any other from the 70s. The track Fred on this record (penned by Allan, showcasing his ability to stretch out on chord changes like only he could, with a dynamic rhythm section) is an early glimpse of what was to emerge later.

[James]

I used to really love this album (among others):

Great album - and it contains some of his very best.

[James]

"Allan Holdsworth was a giant among giants. He created a unique musical language that meshed extreme harmonic complexity with mind-boggling virtuosity in a way that defied categorization. His music was not always accessible—and he didn't care. His approach to the instrument was unlike any other guitarist's and he unlocked mysteries no one even knew existed."

Rest here ..

https://www.premierguitar.com/articles/25624-allan-holdsworth-19462017

[Mirror Image]

Both of those are very diluted recordings, and not representative of what Allan was about - with the Tempest one he hadn't even found his true voice yet. They are not mature efforts. To get to the most undiluted essence of what Allan was about musically - as a composer, bandleader and earth-shattering improviser/soloist one has to dig into the solo albums (I.O.U. onward), the more electric-jazz oriented work (his big hero was John Coltrane!) ..  they are anything but meandering. They are groundbreaking and genius. His way with harmony, the group interplay, the writing, the unique chord voicings, the mind-boggling solos, the advancement/refinement of his revolutionary ultra-lyrical legato technique etc ..

The most important record/work he did prior to his work as a solo artist was Believe It! with the incomparable genius Tony Williams. He learned a lot there and looked back fondly on this moment more than any other from the 70s. The track Fred on this record (penned by Allan, showcasing his ability to stretch out on chord changes like only he could, with a dynamic rhythm section) is an early glimpse of what was to emerge later.

I certainly agree with your assessment. His Tempest work isn't at all representative of what Holdsworth was about and, as you mentioned, he hadn't come upon that unique style that we finally hear of his by the mid to late 70s. I'd argue that Road Games, even though it's an EP, showcased where Holdsworth was going not only with his own music, but with his own guitar playing. That little 5-6 song EP really made a lot of noise and alerted many to this guitar great.

[James]

I certainly agree with your assessment. His Tempest work isn't at all representative of what Holdsworth was about and, as you mentioned, he hadn't come upon that unique style that we finally hear of his by the mid to late 70s. I'd argue that Road Games, even though it's an EP, showcased where Holdsworth was going not only with his own music, but with his own guitar playing. That little 5-6 song EP really made a lot of noise and alerted many to this guitar great.

No doubt. Halen loved Allan's playing and aided in putting him out in front of larger audiences. There were creative differences in the creation of that album, which resulted in it being just an EP instead. Halen was supposed to produce it, but had to tour. Allan was all about integrity and the Halen's producer (Ted Templeman) was trying to mess with creative choices. Despite the tension (and Allan's hatred of the album), it does contain many signature Allan tunes on it, and the playing is great from all involved. Road Games is representative. "The whole package" of what he was about really started on the record before that one, I.O.U. Featuring amazing drummer Gary Husband, like a musical soul mate of Allan, great synergy. Once you get that boxed set you'll witness his development .. especially as an improviser, and the music becomes very undilute, and there are many excellent compositions to his credit. The playing is always great by all involved. It's all great stuff to have. People tend to put too much focus on the fluid lyrical solos (which are really great!) but his whole chordal/harmonic approach is something to behold.

[Mirror Image]

No doubt. Halen loved Allan's playing and aided in putting him out in front of larger audiences. There were creative differences in the creation of that album, which resulted in it being just an EP instead. Halen was supposed to produce it, but had to tour. Allan was all about integrity and the Halen's producer (Ted Templeman) was trying to mess with creative choices. Despite the tension (and Allan's hatred of the album), it does contain many signature Allan tunes on it, and the playing is great from all involved. Road Games is representative. "The whole package" of what he was about really started on the record before that one, I.O.U. Featuring amazing drummer Gary Husband, like a musical soul mate of Allan, great synergy. Once you get that boxed set you'll witness his development .. especially as an improviser, and the music becomes very undilute, and there are many excellent compositions to his credit. The playing is always great by all involved. It's all great stuff to have. People tend to put too much focus on the fluid lyrical solos (which are really great!) but his whole chordal/harmonic approach is something to behold.

Agreed. Holdsworth's singular approach to harmony is out-of-this-world. This is actually the thing I noticed about his music from the very beginning. I suppose it has taken me a long time to appreciate his improvising, but something finally clicked with me fairly recently. I've been making baby steps closer and closer to understanding him and one thing I did take away was this: he was incredibly emotional and he's actually not as cerebral as people have said he is. His guitar playing cuts right through and grinds away at the listener --- if the listener isn't ready for it, he'll simply go right over their head. He takes you on a journey and that is quite an achievement for any musician I'd say.

[James]

Agreed. Holdsworth's singular approach to harmony is out-of-this-world. This is actually the thing I noticed about his music from the very beginning. I suppose it has taken me a long time to appreciate his improvising, but something finally clicked with me fairly recently. I've been making baby steps closer and closer to understanding him and one thing I did take away was this: he was incredibly emotional and he's actually not as cerebral as people have said he is. His guitar playing cuts right through and grinds away at the listener --- if the listener isn't ready for it, he'll simply go right over their head. He takes you on a journey and that is quite an achievement for any musician I'd say.

Indeed, it's full of passion, care, feel, subtlety, energy, color. A secret garden. It's very similar to late 19th century classical music in terms of harmony, but how it's 'voiced' by Allan on the electric guitar (or Synthaxe!) is unique. Let alone his ultra fluid, lyrical approach (and his bands approach!) to playing/improvising within those complex harmonic contexts. Some of the pieces where he employs the Synthaxe sound pretty orchestral. In fact, many of his songs sound full, rich & lush. There are brief moments where it reminds me of even Webern! In addition to John Coltrane (who's tune Giant Steps & and it's chord structure is very similar to a Strauss Aria within Der Rosenkavalier) .. he absolutely loved Claude Debussy, he also liked Stravinsky and Bartok a great deal, and I'm sure many others. But then again, so do every other 'heavier' musician I can think of. I really hope you get a lot of mileage out of that boxed set .. I've been listening to him my whole life and he still remains a huge inspiration for me. Though I would never try to copy what he's done, that's suicide.

[Mirror Image]

Indeed, it's full of passion, care, feel, subtlety, energy, color. A secret garden. It's very similar to late 19th century classical music in terms of harmony, but how it's 'voiced' by Allan on the electric guitar (or Synthaxe!) is unique. Let alone his ultra fluid, lyrical approach (and his bands approach!) to playing/improvising within those complex harmonic contexts. Some of the pieces where he employs the Synthaxe sound pretty orchestral. In fact, many of his songs sound full, rich & lush. There are brief moments where it reminds me of even Webern! In addition to John Coltrane (who's tune Giant Steps & and it's chord structure is very similar to a Strauss Aria within Der Rosenkavalier) .. he absolutely loved Claude Debussy, he also liked Stravinsky and Bartok a great deal, and I'm sure many others. But then again, so do every other 'heavier' musician I can think of. I really hope you get a lot of mileage out of that boxed set .. I've been listening to him my whole life and he still remains a huge inspiration for me. Though I would never try to copy what he's done, that's suicide.

Thanks, I'm sure I'll enjoy this aural journey. He really is an amazing musician and now that I look back at some of the more disparaging comments I made about him in the past, I feel rather embarrassed. I guess I was just in a completely different headspace then.

[James]

Thanks, I'm sure I'll enjoy this aural journey. He really is an amazing musician and now that I look back at some of the more disparaging comments I made about him in the past, I feel rather embarrassed. I guess I was just in a completely different headspace then.

No worries - we've all been there.

[bwv 1080]

makes me nostalgic for my wannabe high school shredding, although its funny now to think of AH lumped in with 80s hair metal players

[Mirror Image]

makes me nostalgic for my wannabe high school shredding, although its funny now to think of AH lumped in with 80s hair metal players

Holdsworth rips all of those guys apart and eats them for breakfast. When I was a teenager, I remember thinking when practicing guitar one night "Hey, this particular scale run sounds like Holdsworth" and then I decided to never play it again. Even I knew better to try and emulate him, because it could never be done and if someone did actually copy Holdsworth then they're nothing but a charlatan anyway for trying.

[James]

Ah yes .. the 80s .. all chops, no content. Many of them pretending to outdo Eddie Van Halen (great rock player) minus the soul, talent or good songs. I can understand the attraction to AH at the time though. On the surface, Holdsworth had a rock-ish electric sound (distortion/gain), and had technical abilities that were truly 'otherworldly' but his lines, his music are anything but devoid of content. Behind the scenes there is more personality (singular) .. more rhythmic/melodic/harmonic content, more invention .. more brains, more fire ..  in his most blistering of lines than all of those 'mindless' shredders combined. Most of them wouldn't even begin to understand what's going on beneath the surface, let alone be on a level to even play Allan's tunes.

[James]

A crowdfunding campaign to cover pioneering guitarist Allan Holdsworth's funeral expenses has been closed after just three days, with thousands of fans chipping in to raise nearly six times the target amount.

Read More: Allan Holdsworth Fans Pay for His Funeral | http://ultimateclassicrock.com/allan-holdsworth-funeral/?trackback=tsmclip