Here's what Bill Bruford is up to these days: A lecture on his PhD, which deals with creativity in drumming. Disclaimer: Not a word on Allan, and I don't think a note of him either. But definitely something for intellectually minded Allan fans. Listening to Bill talking this way, you'd think he'd been a music professor all his life.
In a recent video interview, Jakko Jakszyk talks about how it was following Allan as a guitarist in Level 42, and shares personal experiences from hanging out at his flat in the late 70s. (Disclaimer: Jakko's opinions are his own entirely.) The video is cued up to 32:02. See in the comments for quotes from Allan on the subject of working with Level 42.
GARY HUSBAND ON ALLAN HOLDSWORTH Gary Husband recently posted a clip from his 1998 video “Interplay and improvisation on the drums”, where he and Allan does a duo improvisation. Some of the comments moved Gary to post the following comment on improvising with Allan, and by extension on how their whole musical relationship worked. With Gary’s permission, the Archives edited his comment to stand by itself, and posts it here. Thank you Gary! --- ...It’s an intriguing thing, and subjective to individual taste also. But as I look at it now, this improv - as with all the others - it was just business as usual. With us. Like it or hate it. First of all, you have to take into account one rather fundamental thing. About Allan. As it is to me anyway. Allan, with all his colossal genius, wanted a drummer to take real initiative, with pretty total conviction, and ... he loved just playing with someone who possessed that. He needed that. Clearly. I could feel that the very first time we played together. Back in the 70s. Now, a John McLaughlin - and there only is one - very different story. Allan was a supreme improviser, never happier than when he was playing very much “over” what was going on. And with drums he liked a lot of perpetual, creative, powerful activity. He actually depended on that! And, y’know, if you listen to him throughout this whole improvised piece ... can you tell me? What is there that he’s actually leading on for me to supposedly “latch onto” in any determinable or conventional terms? In this - the case of this piece - as with every time we improvised - it was about feeling each other out - and Here was the deep connection - indulging in a common feeling, instinct and mutual trust in how long a free idea or section could develop for instance. And connecting on that. Take the whole beginning free form stuff for example, on this video. He needed initiative from someone to initiate, establish a new mood and start a tempo at some point, which I always did! And do right here! Same for when we go high energy freeform, leading up to the end ... where we have this random understated bleeps and blobs etc. But we knew how to feel each other out and ... some of my favourite outrageous moments were endings ... how they would instinctively work out. Very difficult to put into words, this stuff. But it was a particular way, and understanding between me and him. He wanted authority coming from somewhere else, and for that authority to catapult him into finding what he’d find, and at times when it would surprise him. As a result, throughout those decades together, I always, ALWAYS, pretty much “heard” transitions, acted upon them and (“being in another galaxy” or however you see it or perceive it!) ended up pretty much “directing” every improvisation we did ... in this kind of a freeform realm anyway. And I don’t really care if people think the method I took was inappropriate or whatever. That was what he entrusted me with, and he got what he wanted out of me. He wanted a strong character - not passive - to work off. He relied on that. That’s the extreme fundamental. Having established that method of working, we were passionately together, given that methodology at the heart of this work. If you see it, or not, as a result, this whole improvisation takes a form, and eventual resolution. And yes! I pretty much direct it! But, you have to see, he relied on that! That’s what gave it it’s form ... and in every one we did. And that’s a place Allan loved to be. Taken on a journey and finding what to do with what he was hearing - and the close interaction grew and existed from that methodology and trusted way of going about things together. In the early days, I’d experiment with leaving him different degrees of space, waiting for him, but he wasn’t comfortable with that Terry! He wanted it like we did it, and drummers who didn’t do that for him or provide that were ultimately a disappointing experience for him. So there you go. For whoever gets it - and many I guess won’t - that was the nature and basis of this intensely personal and unique thing I had with him. It involved understanding and knowing him, deeply, which I did. In summary, I would say we played together, just as we lived life together and experienced each other. Disparate in many ways, but ultimately, intrinsically joined. The laws of friction, and differences working to optimum effect! That, and of course, respect and love. My best, GH Saturday, April 7, 2019 --- https://www.facebook.com/GaryHusbandMusic/videos/302676980402144/ Gary's original post can be found in the comments here: https://www.facebook.com/groups/361803263942657/permalink/2036857679770532/
The Allan Holdsworth Archives wishes to raise a toast to Manning Bartlett, who has been volunteering as the unofficial main caretaker of Allan's legacy for the past two years. Manning has notably been the admin of "The Unreal Allan Holdsworth" group here on Facebook, as well as working behind the scenes with the Holdsworth family and with Manifesto records. Manning recently was a guest on Eric Miller's "Pods And Sods" podcast, where he picked three of his favorite Allan tracks, and talked about his connection to Allan's music. This coincides with Manning stepping down from admin duties on Facebook for the time being. But he's got other very interesting projects in the works, listen to find out! Cheers, Manning!
Bill DeLap is auctioning off an autographed Allan Holdsworth Harness. The auction is taking place in the UnReal Allan Holdsworth Group. A link to the auction is found in the comments below. Bidding closes at 5:00 PM, Friday March 29 (US-PDT California time). For other details, we refer to the auction link. The Allan Holdsworth Archives page is not involved in this auction in any way, and assumes no responsibility for it, but we have been assured that everything is 100% legit.
Today we can present a rare interview with Allan, published in November 1992. The thing that’s most unusual about this is that it was conducted by an American writer, in America, but published in Italian, in the Italian magazine Guitar Club! The interview has been back translated by a machine, with only a little human editing, so the prose is a little weird sometimes. (Italian text also found in link.) Allan talks about the Wardenclyffe Tower album, and some usual topics like guitars (baritones and doublenecks in particular) and the SynthAxe, but also about his plans to become a bank robber! Thanks to the people who contributed the great scans. The Allan Holdsworth Archives is dependent on user submissions to present you rare material like this. If you have something rare to share, please send a PM. If you would like to improve the translation, please submit your revisions in the comments or through the inbox.
Zarabeth on a Saxophone! (And a guitar!) https://www.youtube.com/watch?v=KEuOsuSoppI
EDIT: Original French text found in link! Tonight we have a real rarity: An interview with French magazine Jazz Hot from 1980, with some pictures that have not been seen by many since then. Here is a machine translated version. A quote: "For my part, I hate clichés, and I hate this mode of "funky" rhythms, that's all ... The guitarists are all set to this form of rhythmic playing, just as all bassists try to play as Pastorius. It's silly, and one wonders what they would have done if it had not existed. Everyone must find their own style. The types that copy Jaco Pastorius retain only the superficial aspect of his playing. And the sound does not mean anything without the personality."
In remembrance of Paul Williams, here is an article on Tempest from Melody Maker in 1973, mainly an interview with Jon Hiseman. It was Hiseman who first brought Allan and Paul together. Now, the only original Tempest member who is still around is bass player Mark Clarke. Check out the comments for a 2006 interview with him.
This wonderful BBC session from 1974 has been uploaded to YouTube. It contains the earliest known recording of "Kinder", as well as two Holdsworth tunes that never were recorded on any album, plus the Pat Smythe tune "New Dawn", which Allan later covered on "Tales From The Vault". The violin intro by Allan on the first tune is downright scary! Click for full playlist.
Gary writes: "Another flashback. Here are two snaps I had the instinct to shoot back in 2000 of Allan Holdsworth and John McLaughlin in the dressing room of the venue Cedac De Cimiez in Nice ... right after our concert with Allan and the band there. Two giants and movers of the guitar, of course. Two of the most major relationships in my musical life also. Two Yorkshiremen ... and a third one taking the pictures! Around four years after this I was to also start working with John. Beautiful memory. They spoke at length with each other that night, and I love the fact Allan was so stoked John sir was there to hear the show. "
Cari amici italiani! Puoi aiutarmi a trascrivere le parole in queste immagini? Sto lavorando a un articolo del 1997 e il materiale di partenza è molto povero. Le parole mancanti o incerte sono contrassegnate in [parentesi]. Basta scrivere i tuoi suggerimenti e le correzioni nei commenti per ogni immagine. Grazie mille!