'Igginbottom's Wrench - 1969 "Igginbottom's Wrench"

'Igginbottom's Wrench is a studio album by the band 'Igginbottom, released in 1969 through Deram Records originally on vinyl only. It has been reissued a number of times (sometimes under the group title of "Allan Holdworth & Friends"), most notably on CD for the first time on 5 March 1989, as well as a remastered edition in 2000 through Angel Air Records with extensive liner notes detailing the band's history. It is one of the first recordings to feature guitarist Allan Holdsworth.

Not so much a footnote as a toenail clipping in the annals of forgotten Deram label worthies, ’Igginbottom are known only to the privileged few as the Ronnie Scott-endorsed quartet which provided the first sighting of Allan Holdsworth in 1969. Their name may have led audiences to expect a brutalist meat-and-two- veg combo in the Stackwaddy vein; nothing could have prepared them for the preoccupied, jazzy insularity and pin-drop quietude of ’Igginbottom’s Wrench.

In an era of Marshall stacks and Big Muffs, Holdsworth and fellow ’Igginbottom guitarist Steven Robinson favoured intelligently-arranged tone clusters performed with no amp distortion and the treble rolled off. At times, as in Sweet Dry Biscuits, they sound like The Magic Band if Sun Ra had been cracking the whip instead of Beefheart.

The first revelation from this reissue is that Holdsworth patently emerged from the womb with his unreasonable talent fully formed. A mere 21 in 1969, he was already capable of unleashing those dazzling note flurries of dancing fluency that still make fellow guitarists lob their Les Pauls into the Thames. The second revelation is that he had a wonderfully appealing singing voice: check the sighing ennui of Golden Lakes and Not So Sweet Dreams. Who knew?

This is one weird-ass album, and one that will probably become better known as time goes on and more people discover that it's a very early musical document of Allan Holdsworth -- he was part of 'Igginbottom's Wrench along with David Freeman on drums, Steve Robinson on the other guitar, and Mick Skelly on bass. 'Igginbottom's Wrench, their one and only album, bears about the same relationship to Holdsworth's later work that The Cheerful Insanity of Giles, Giles & Fripp does to Robert Fripp's work, and it's curious that both albums are on the same label. 'Igginbottom's Wrench also sounds a lot like GG&F, kind of arty, theatrical psychedelia with some prominent jazz influences weaving in and out, but none of it taken seriously enough to be played or sung especially well, and it's easy to see how this recording got overlooked in 1969. It's mostly notable for the presence of "Golden Lakes," which evolved into "Velvet Darkness" and loomed ever larger in the decades to come. This shows Holdsworth at his least precise and pretentious, not in great form instrumentally or vocally (but not bad, either), noodling around in a less-than-formal setting and calling it an album. It's great fun and it will probably delight Holdsworth's fans, and anyone into late-'60s progressive rock or jazz/rock fusion.

Released on Deram Records in 1969, ‘Igginbottom’s Wrench’ was the first and only album from Barnsley’s ‘Igginbottom. The group consisted of Dave Freeman on drums, Mick Skelly on bass, Steven Robinson on guitar and guitarist extrodinaire, singer and main writer Allan Holdsworth.
Igginbottom were young lads (no older than 21) and had only formed as a band a few months before recording this album. Despite this ‘Igginbottom’s Wrench was, and is a brilliantly complex and highly sophisticated Jazz-Psych-Prog-Rock gem.
The album has heavy Jazz influences but could also happily sit in the Progressive or Psychedelic Rock sections. There is a lot to take in, song arrangements are ambitious and complex and the album really warrants several listens. In the Liner notes, Ronnie Scott writes: ‘Igginbottom are unique and completely original and although they love Jazz music and Coltrane in particular I can’t detect allegiance to any particular jazz musician in their work. They may well be the first group that has, completely naturally and unselfconsciously, evolved out of the ever converging directions of good Pop and Jazz. Their compositions (mainly by Allan Holdsworth) are fantastic and strangely moving – full of unexpected harmonic twists and difficult intervals, sung, again mostly by Holdsworth, with amazing precise intonation“
igginbottom front

Allan Holdsworth is best known for his work in the Jazz/Fusion world. He is a virtuoso guitar player and has been cited as a major influence by other guitarists such as Joe Satriani, Eddie Van Halen, Richie Kotzen, Alex Lifeson, and Greg Howe to name but a few. This album however, captures Holdsworth in a less formal than normal state, his playing is less precise and much ‘cooler sounding’ than his later stuff, in my opinion.
While many other guitarists of the day were embracing new amplification technology and heavily overdriven sounds, Holdsworth and fellow guitarist Steven Robinson used cleaner, dryer and much Jazzier sounds.

Holdsworth’s voice too is soft, soulful and in places not too dissimilar from a young Chet Baker but it’s really his guitar playing that stands out. The solos are blisteringly fast but somehow still remain laid back and groovy. Interestingly, ‘Igginbottom’s Wrench was later re-issued as being recorded by ‘Allan Holdsworth & Friends’.

The popular stand-out track is the last on side 1 – ‘Golden Lakes’ as this went on to become the influence for Holdsworth’s first solo album – ‘Velvet Darkness’, released in 1976. He went on to release a further 12 solo albums plus a range of live and collaborative records.

Track listing:

1. The Castle (Holdsworth) - 2:55
2. Out Of Confusion (Freeman, Robinson, Holdsworth, Skelly) - 2:09
3. The Witch (Holdsworth) - 3:03
4. Sweet Dry Biscuits (Holdsworth) - 2:54
5. California Dreamin' (Phillips) - 4:00
6. Golden Lakes (Holdsworth) - 5:12
7. Not So Sweet Dreams (Holdsworth) - 5:00
8. Is She Just A Dream? (Holdsworth, Kelly) - 4:33
9. Blind Girl (Robinson) - 3:46
10.The Donkey (Robinson) - 10:42

Personnel:

    Allan Holdsworth – vocals, guitar
    Steven Robinson – vocals, guitar
    Dave Freeman – drums
    Mick Skelly – bass

Allan Holdsworth - 1997 "I.O.U. Live"

I.O.U. Live is a live album by guitarist Allan Holdsworth, released in 1997 through Cleopatra Records. According to Holdsworth, the tracks were taken from video footage of a 1984 concert in Japan, which later became a bootleg circulating under the name of Tokyo Dream: Allan Holdsworth in Japan. He therefore considered it an unauthorised release and not part of his discography.

Released in 1997 on Purple Pyramid Records. Catalog Number: CLP 9970-2 This recording was taken from the "Tokyo Dream" video concert. Recorded live at Yubinchokin Hall-Tokyo, Japan 5/14/84.

This is the only live IOU. Recorded in Japan in 1984. Magic. My copy was released thru Purple Pyramid records 1997. Highly recommended. All of the Allan Holdsworth recordings are worthy. There are bootlegs out there which have dropouts and who's sound quality is very uneven but this is not one of those by any stretch of your musical imagination.

This album, recorded for a Japanese tv show, and released against Allan's wishes, is nevertheless in my opinion, his most accessible work ever. Gone are the keyboards on this date, so every note that's not vocal, drum or bass, is Holdsworth himself. When you realize this, your jaw will drop open.

Allmusic review of Holdsworth's I.O.U. studio album:

After the train-wreck disaster of Holdsworth's first solo release, the infamous Velvet Darkness, it wasn't until three years later that he reconsidered doing a real solo release versus the earlier ripoff of an authorized studio mishmash product he suffered. So in 1979 he recorded I.O.U. on a wing and a prayer and loans (ergo, an IOU recording project). With his very successful stints with other groups in the intervening time period, such as UK and Bill Bruford, Holdsworth's guitar prowess and name were clearly on the map. Holdsworth now needed to be the leader he clearly was and thus release an official solo record. The real Allan Holdsworth unleashed is at last revealed on I.O.U. in his original compositions and well-crafted soloing, versus being merely part of a group and forced to stay within certain boundaries of other bandmates' design. I.O.U., as a solo release, is high-quality jazz fusion interplay, offering emotive compositions, ethereal guitar atmospherics, complex chordal progressions, and intense legato explosions of guitar that set the standard for many guitarists to come. There is no acoustic guitar this time, but a wee bit of Holdsworth on violin appears in one song.

http://jazz-rock-fusion-guitar.blogspot.com/search?q=Allan+Holdsworth

R.I.P. Allan Holdsworth

Track listing:

All tracks written by Allan Holdsworth, except where noted.

1. "Road Games" 4:25
2. "White Line" (Holdsworth, Gerry Brown) 7:02
3. "Panic Station" (lyrics by Paul Williams) 4:14
4. "Letters of Marque" 6:41
5. "Material Real" 7:30
6. "Metal Fatigue" (lyrics by Williams) 5:10
7. "Where Is One?" 8:02
8. "The Things You See" 7:01
9. "Was There (Something)" 6:58

Total length: 57:03

Personnel:

Allan Holdsworth – guitar
Jimmy Johnson – bass
Chad Wackerman – drums
Paul Williams – vocals

Allan Holdsworth - 1985 "Metal Fatigue"

Metal Fatigue is the third studio album by guitarist Allan Holdsworth, released in 1985 through Enigma Records (United States) and JMS–Cream Records (Europe).

Criminally unknown and underappreciated, Allan Holdsworth is one of the greatest musicians ever to pick up the electric guitar. Here, on 1985's Metal Fatigue, everything finally comes together for him. For the majority of this record, Holdsworth is joined by bassist Jimmy Johnson and drummer Chad Wackerman, and these two musicians, virtuosos in their own right, complement Holdsworth beautifully (check out Johnson's wonderful part in "Home" and lovely solo on "Panic Station"). The leader is known for his extremely legato phrasing and rich harmonic vocabulary, both of which are on display in the solo and frantic fills of "Metal Fatigue." Anchored by Paul Williams' vocals, the song is marvelously constructed, with a strong verse melody supported by Holdsworth's upper-register guitar chords. The guitarist's much-vaunted whammy bar work is also on full display here. Certain fills in "Metal Fatigue" are almost queasy sounding, as Holdsworth bends and slurs in impossible ways. His use of the tremolo bar comes out not only during his melodic playing, but also during his rhythm playing, where he allows his chords just a trace of shimmer, enough to lend body to his playing but not enough to blur the harmonies. The influence of Holdsworth's unique style is evident in the work of such rock guitarists as Eddie Van Halen and Alex Lifeson (listen to VH's "Drop Dead Legs" or Rush's "YYZ" for a taste of this connection), but the watered-down and otherwise assimilated adaptations of his style pale compared to the unadulterated stuff. One of the most important fusion records of the '80s is also Holdsworth's best work. Absolutely essential for those who like their rock with a healthy dose of jazz.  All Music.

This album is great and it shows how one can create an atmosphere of hard distorted guitar with jazz. Allan is the master and he show his skills on this recording, which far exceed his work with Soft Machine. He has truly come into his own on this recording.

Metal Fatigue is an INCREDIBLE achievement that lingers in the mind for years after your first listen. Simply put, this recording is one of Holdsworth's best and exemplifies his incredibly unique approach to the guitar. So different is Holdsworth's sound that he essentially redefines the boundaries of the instrument. But understand this, you DONT buy a HOLDSWORTH recording to hear catchy lyrics or a typical song composition. What you DO get it for is to hear an unparalleled genius provide his take on the music, whatever it is, that's happening around him. That's what he he delivers and it's what makes him great. Holdsworth's amazing achievements can be appreciated stand-alone, or as MUSICAL INTEPRETATIONS by a genius. And make no mistake about it - Holdsworth is in every way a genius.
Whoever equated "Mr. Mister" to ANYTHING on METAL FATIGUE is completely out of line. Yeah, the lyrics drive me crazy sometimes and they don't always sound as cool as an 80's pop tune, but are you reviewing the lyrics or are you reviewing Holdsworth? Even if you take the approach that you must review the entire work and all supporting members, Holdsworth's is such a triumph of musical possibilities and sheer passion that he simply overshadows anything "Mr Misterish".
I can listen to Holdsworth over and over again, and each time take something different away from the experience. Holdsworth is an artist, and like many artists past and present, he is misunderstood and underappreciated by many whose brains have been turned to jello by what our collective FM radio stations pump out on a daily basis. Boring? Not at all - Holdsworth speaks through his music, and he has an incredible story, an EPIC story to tell with each musical passage, but nobody said understanding it would be easy.  - By Chris McCabe

Again a perfect CD, a trascendental recording of the unique Master. This recording is a perfect blend between Jazz and Rock stations because the Rock rhythmic and tempo formats against all the bizarre Jazz harmony that is accuratetly used song by song. The opening track "Metal Fatigue" begins with a great distorted riff with an intriging guitar efect (a pitch shifter pedal?) that makes sense when the rhythm section begins to play conducting this extraordinary riff to the first Paul Williams vocal lines... Then the clear chorused comping chords appear wonderfully. What a fantastic gimmick to begin a record! Only a talented genious like him would had done something like that...

"Devil Take The Hindmost" is another OUT OF THIS WORLD song that still is breaking standar listening formats. The solo is everything, it is perfection in every note, in every single bar, demostrating not only its sonic ambiguity but the fast liquid legato Holdsworth trademark... The solo of "In The Mistery" is a real "easy" one too, against the others, as well as the "Panic Station" song, just to give place to the science fiction suite "The Un-Merry Go-Round", another fantastic theme to continue with the emotion and take it to a highest level, the climax of the recording: Outstanding, Extraordinary, Trascendental...

Since the first day I heard this record, I thought ¿What is happening here?... I've already heard some years before to Allan Holdsworth in the first Bill Bruford solo album (1977), where the music gave birth to a new genre: the PROGRESSIVE JAZZ FUSION! music category, afterwards Allan Holdsworth had another big shot with Jean Luc-Ponty in "Enigmatic Ocean" and with U.K. near to Bill Bruford, John Wetton and Eddie Jobson. I was really amazed by the progressive statement that those four guys were doing there. It was a maravelous sensation!... If this 1977 and 1978 recordings are trascendental, then METAL FATIGUE (1985) is a higher stage into the mastery of Allan Holdsworth as solo artist, and as the years go by, the time will reveal this work, as the most important recording not only to the Rock station but to the Jazz station too... Good Luck! - By Jesmorh  

Although his guitar playing continued to improve on later recordings, and compositions became a little more jazz oriented, this is still one of my favorite Holdsworth records ever. This one rocks, and shows off the unique phrases and voicings that made him legendary. For the shredder guitar fans, also check out some later recordings like Hard Hat Area and 16 Men of Tain. I love Sands too. Not only is this guy possibly the greatest guitarist ever, I believe he truly is the greatest musician/composer of the last 100 or so years.- By SAFETYTHOMAS

I first heard Metal Fatigue in 1990. At that time I was beginning my trip through the Rock-Jazz-Fusion world and Fatigue has since then been in my heart and I`m sure my relation with this masterpiece will last forever.
Allan`s ability has always impressed me, but in this album he is at his best, I haven`t seen anything like this in his whole discography.His riffs are amazing and his solos stand out not only because of his technique, but because they all translate into melodical sequences that constantly dives into the unexpected. It is very creative, innovative, genius stuff...
Chad`s drums are also something to appreciate. Because of his work with Allan Holdsworth, he has become one of my favorite drummers and that is big because my favorite drummers are Weckl, Cobham, Colaiuta, Chambers, Hakim, Donati and Gavin Harrison.
The bass lines are so cool, clean, melodical, such as the voice of Paul Williams...
This is a perfect album. 10 out of 10.
Get it and enjoy something that you may carry with you for long, long pleasant years. - By The cimmerian

Track listing

All songs written and composed by Allan Holdsworth, except where noted.

1.     "Metal Fatigue" (lyrics: Paul Williams)     4:56
2.     "Home"       5:33
3.     "Devil Take the Hindmost"       5:36
4.     "Panic Station" (lyrics: Williams)     3:36
5.     "The Un-Merry-Go-Round"       14:10
6.     "In the Mystery" (lyrics: Paul Korda)     3:49

Total length: 37:40

Personnel

    Allan Holdsworth – guitar, engineering, production
    Paul Williams – vocals (tracks 1, 4)
    Paul Korda – vocals (track 6)
    Alan Pasqua – keyboard
    Chad Wackerman – drums (except tracks 5, 6)
    Gary Husband – drums (track 5)
    "Mac Hine" – drum machine (track 6)
    Jimmy Johnson – bass (except track 5)
    Gary Willis – bass (track 5)

Tony Williams - 1975 [2004] "Believe It"

Believe It is the first album by The New Tony Williams Lifetime, released in 1975 on Columbia Records. The New Lifetime was a jazz fusion band formed by the drummer Tony Williams with Allan Holdsworth on guitar, Alan Pasqua on keyboards and Tony Newton on bass.

The compositions Fred, Proto Cosmos and Red Alert are also featured on the Allan Holdsworth DVD Live at Yoshi's, released in 2007. Holdsworth has often stated that his time with the drummer was the most influential formative stage of his career.

By the time drummer Tony Williams left Miles Davis in '69, he had moved even farther away from the acoustic tradition than his former employer. His first recordings with his new band, Lifetime, were characterized by the sleeve instructions: "Play it Loud!" While the energy level was high and the music was infused with a rock and roll philosophy, it was nevertheless uncompromising and continued to push the boundaries; intense, daring and sometimes a little terrifying, the early incarnation of Lifetime was a literal barrage on the senses.

By '75, Williams had signed with a new label, pieced together a New Tony Williams Lifetime, and moved in a little more conventional jazz-rock direction. But unlike so many fusion records of the time, Believe It managed to be powerful without the bombastic pyrotechnics of bands like Return to Forever. Originally available on a CD that combined it with the far less successful follow-up, Million Dollar Legs , this long out-of-print title has finally been reissued by Columbia, remastered and with two bonus tracks.
Believe It features former Motown bassist Tony Newton, keyboard player Alan Pasqua and, most notably, British guitarist Allan Holdsworth, who, while already somewhat of an underground legend in his own country, had yet to make an impression in North America. Believe It changed all that, demonstrating that not only was Holdsworth a fresh new voice on his instrument, but a fine writer as well. "Fred," later re-titled "Kinder" by Holdsworth, and a staple in his repertoire for some years to come, introduces Holdsworth's unique harmonic language, with a lyrical bent that manages to be completely distinctive. And his playing style is quite simply like no other; influenced heavily by Coltrane, Holdsworth, even at this early stage in his career, is capable of sheets of sound that, punctuated by held notes and legato runs, are visceral in their impact.
No less visceral, of course, is Williams himself. While peers including Billy Cobham and Lenny White gravitated towards more overblown displays of virtuosity, Williams overpowers both with his stronger sense of groove and sheer muscularity. And while he is every bit as capable of extravagant displays of technique, he always sounds more musical. Even on intense burners like the Holdsworth-penned bonus track "Letsby," he is less concerned with how many beats he can throw into a fill; and his solo over Holdsworth's power chord ostinato is the epitome of construction.
For someone who moved the concept of rhythmic freedom so far forward as part of Miles' second quintet, Williams may have been the most overtly rock and roll-informed drummer of the mid-'70s fusion era. With an inherent sense of groove and honest energy that comes from compositions that are less contrived and more direct vehicles for improvisational flight, Believe It is one of the most compelling arguments for the validity of jazz-rock fusion, before the term became such a dirty word.

They just don't make 'em like this anymore! 28 years after its original release, this album STILL sounds as invigorating as the day it was released. Tony Williams, much like his mentor Miles Davis had a knack for picking great talent for his bands, especialy young upstart British guitar virtuosos.

As if John McLaughlin wasn't enough, he went and found the soft-spoken and ridiculoulsy innovative Allan Holdsworth, who spun melodic and fluid solos with the ease of a saxophonist. Already having stints with Tempest and Soft Machine under his belt, Holdsworth's style was jumping to the next level already, and Tony Williams did nothing to stand in the way, in fact, Allan was heavily encouraged and cheered on in his explorations by his bandmates here. Allan did things that just sounded absolutely impossible on a guitar at the time, and I remember so vivdly hearing this album at age 16 and having my jaw scraping the ground in amazement!

Armed with nothing more than a Gibson SG and a Marshall amp, Allan H just roared in an destroyed the place with his emotionally charged soloing and exploratory compositions, and a finely tuned musical sense to make te compostions of his bandmates come alive! Marrying this to William's inventive powerhouse drumming, Tony Newton's funky slithering bass and Alan Pasqua's glassy keyboards, this version of the Tony Williams Lifetime was a force to be reckoned with.

The other thing that still grabs me about this album is the open. raw live sound with minimal overdubbing, as honest and accurate in capturing this band's power in the studio as you could hope for. There's not one weak cut on here, ranging from the stomping funk of "Snake Oil" to the ghostly chord melody of "Fred" and the rip snorting brilliance of "Mr. Spock" (especially with the section where Williams and Holdsworth switch roles, Tony putting forth the solo of his life and Holdsworth bashing out angry Black Sabbath-like power chords underneath before roaring to a great close). The bonus tracks are a VERY worthwhile addition as well, "Letsby" is a slightly different take on "Mr. Spock" and "Celebration" get's more funky while still snarling like a panther (thanks again to Allan Holdsworth's raging guitar).

A serious fusion classic if ever there was and definitely worth adding to your library. Turn it up to 11 and let your jaw drop again!

Track listing

01 "Snake Oil" (Tony Newton) — 6:30
02 "Fred" (Allan Holdsworth) — 6:48
03 "Proto-Cosmos" (Alan Pasqua) — 4:02
04 "Red Alert" (Newton) — 4:39
05 "Wildlife" (Tony Williams) — 5:22
06 "Mr Spock" (Holdsworth) — 6:15
Bonus Tracks
07 "Celebration" (Williams) — 4:01
08 "Letsby" (Holdsworth) — 6:34

Personnel

    Allan Holdsworth – guitar
    Alan Pasqua – keyboards
    Tony Newton – bass
    Tony Williams – drums

Allan Holdsworth - 1982 [1985] "i.o.u."

I.O.U. is the second studio album by guitarist Allan Holdsworth, released in 1982 through Luna Crack Records/I.O.U. Records originally on vinyl; a CD edition was reissued in 1985 through Enigma Records^[3] and a remaster in 2008 through Belle Antique. A previous album, Velvet Darkness, was released in 1976 without Holdsworth's consent, therefore making this (in his view) his first official solo release. Furthermore, many tracks from Velvet Darkness were remade and retitled for I.O.U..

After the train-wreck disaster of Holdsworth's first solo release, the infamous Velvet Darkness, it wasn't until three years later that he reconsidered doing a real solo release versus the earlier ripoff of an authorized studio mishmash product he suffered. So in 1979 he recorded I.O.U. on a wing and a prayer and loans (ergo, an IOU recording project). With his very successful stints with other groups in the intervening time period, such as UK and Bruford, Holdsworth's guitar prowess and name were clearly on the map. Holdsworth now needed to be the leader he clearly was and thus release an official solo record. The real Allan Holdsworth unleashed is at last revealed on I.O.U. in his original compositions and well-crafted soloing, versus being merely part of a group and forced to stay within certain boundaries of other bandmates' design. I.O.U., as a solo release, is high-quality jazz fusion interplay, offering emotive compositions, ethereal guitar atmospherics, complex chordal progressions, and intense legato explosions of guitar that set the standard for many guitarists to come. There is no acoustic guitar this time, but a wee bit of Holdsworth on violin appears in one song. 

Allan Holdsworth makes modern fusion albums: this record has very dedicated electric guitar sounds. I think he uses a volume effect to sometimes produce very ethereal, echoed, urban & refined floating guitar sounds, like on the "Shallow sea" or "Letters of Marquee" tracks: it sounds a bit like the guitar volume effect of the King Crimson's "Matte Kudasai" track, on the "Discipline" album. When Holdsworth plays a more conventional sound here, he quite sounds like the Pat Metheny's electric guitar on the "American garage" album. There are no keyboards on the record, maybe just an excellent piano part on "Temporary fault". The lead vocals sound a bit like the voice of Gary Chandler (Jadis). Holdsworth's numerous guitar solos are very elaborated, although they are more technically impressive than they can be catchy. The bass and drums are quite complex, fast and refined. Gary Husband's drum solo on "Letters of Marquee" is ABSOLUTELY DELIGHTFUL! Just turn up the volume and enjoy the power of it! 

This is another great place to start for the uninitiated. But you may want to wait. Allan just secured the rights to his earlier recording and there is talk of re-releasing/re-mastering this album with some added tracks which were "lost" during the first pressing. If you can get a copy of this, grab it. This is Allan's first "REAL" attempt to bring his music to the world and he does so in a stunning fashion. This album consists of 50% instrumental and 50% vocal tracks. Don't be put off by Paul Williams voice. He's not great, but he is competent (stays on key). Holdsworth tears it up, on violin too. Some of the solos will cause you to rewind and play over and over to try and imagine what he's doing. Blistering, not just speed, but the fluidity of the notes (legato) and the passion he plays with. Gary Husband marks his debut with IOU and he sets a very flowing pulse anchored by Paul Carmichael. It's hard to point out any single track as a stand out because the flow of the album makes for one enjoyable listen. The Things You See and Letters of Marque are still fans favs today.

To call this groundbreaking would be an understatement. After years of playing "hired gun" and adding colorful embroidering to the works of others, Allan Holdsworth in no uncertain terms served notice he had something unique of his own to offer. Ghostly extruded chords, angular intervalic melody lines, anarchaic drumming and Coltrane-like flurries of notes dance collide twist and turn on themselves in ways never before thoght possible. Having seen this lineup live (circa 1982), It was amazing to see Allan do things on a guitar that just sounded impossible! Gary Husband's drumming is a great example of "controlled chaos", providing a great foil for Allan's unorthodox musical ideas as Paul Carmichael provides solid bass support.

Allan Holdsworth's proper debut after the disastrous 'Velvet Darkness' (and a joint venture with Gordon Beck) was a quiet but definite triumph, and the fact that few seemed to notice didn't diminish the musical ripples this LP sent out. It presented a music altogether new, led by a player who had arrived in a big way and took the notion of jazz-rock to a different place. 'The Things You See' has Paul Williams back in great form, Paul Carmichael's sensitive bass and the unstoppable Gary Husband on traps. Unassuming but fantastically complex is 'Where is One', dotted with many little tastes of Holdsworth's brilliance. Here was much more than just fusion. 'Checking Out' rocks with smart arrangements and fresh ideas, 'Letters of Marque' features rich atmospherics and a kick-ass drum solo from Husband. 'Out From Under' is heavy jazz with Holdsworth's signature atonalities, demonstrating Williams' vocal talents and musical understanding, and 'Shallow Sea' is an instrumental showcase. There is every chance you may hate this record, and that's okay. It's progressive, it rocks, and in 1982 was an astounding musical statement. Challenging, difficult and absolutely brilliant.

Tracks Listing

1. The things you see (when you haven't got your gun) (5:50)
2. Where is one (5:32)
3. Checking out (3:34)
4. Letters of Marquee (6:57)
5. Out from under (3:32)
6. Temporary fault (3:15)
7. Shallow sea (5:51)
8. White line (4:50)

Total Time: 39:21

Line-up / Musicians

- Paul Carmichael / bass
- Allan Holdsworth / guitar, violin
- Gary Husband / drums, piano
- Paul Williams / vocals

Allan Holdsworth - 2002 "All Night Wrong"

All Night Wrong is the first official live album by guitarist Allan Holdsworth, released in 2002 through Sony Music Entertainment Japan and in 2003 through Favored Nations Entertainment (United States).

Guitar hero Allan Holdsworth often performs with his peers. Such is the case with this live setting recorded at a venue in Japan during a 2002 tour. On this release, the guitarist leads a trio featuring longtime musical associates, drummer Chad Wackerman, and bassist Jimmy Johnson. To that end, the respective musicians' talents are well-known entities. Wackerman and Johnson can handle the trickiest time signatures imaginable. Along with the nimble flexibilities and odd-metered excursions witnessed here, they exude a force of power that serves as a meaty foundation for Holdsworth's mighty licks.
A wonderfully recorded album, Holdsworth's climactically driven legato-based riffs are intact, as he also implements jazzy chord voicings and delicately stated fabrics of sound. But the trio raises the ante throughout many of these pieces, awash with moments of nuance and controlled firepower. In sum, Holdsworth's legion of followers should be pleased with a recording that should rank among his finest efforts to date.

Incredibly, All Night Wrong (Favored Nations) is Allan Holdsworth’s first “official” live album, made at the Roppongi Pit Inn in Japan in May 2002, with two longtime collaborators, former Zappa drummer Chad Wackerman and bassist Jimmy Johnson. Holdsworth’s guitar improvisations are about as complex as they get without flying over your head completely. Holdsworth, as is well known, is a guitarist’s guitarist who doesn’t consider himself a jazz player yet whose music can barely be called rock. Virtually cliche-free, Holdsworth isn’t someone you can categorize; listen to “Alphrazallan” for evidence of this. His uncompromising music doesn’t come to you; you have to go to it. Holdsworth’s intensely focused, fearsomely long solos make their point by cramming more notes into the square inch than you might think is humanly possible, such as on “Funnels,” and with Wackerman’s fill-every-crack drumming, it can make for exhausting listening. Usually at one dynamic level, it’s like being trapped in a conversation where you can’t get a word in edgeways.

The title may offer insight into guitar legend Holdsworth's notorious aversion to the pressures of live recordings; indeed, this marks the first live solo album of his long career. But the nigh-flawless performances here (recorded in May, 2002 at the Roppongi Pit Inn in Tokyo, Japan) also suggest a certain irony to the fusion pioneer's concerns. His distinctive chordal melodic technique sets "Lanyard Loop" (and much of the album) in a quietly savory orbit; but it's a deceptively languorous framework that Holdsworth masterfully uses to contrast his often-aggressive soloing. "The Things You See" showcases some remarkably fluid tonal shifts and a solo tack that's as free and Coltrane-esque as advertised. The soft focus of "Alphrazallan" proves it can also be a tightrope walk, while drummer Chad Wackerman's playful, funk-edged solo introduction gives the dark, cascading mystery of the guitarist's playing on "Zone" yet another compelling facet, with bassist Jimmy Johnson capably adding yet another layer of rhythmic complexity. The jazzy, neo-swing of "Water on the Brain, Pt. II" and "Gas Lamp Blues" (where Johnson in particular shines) displays the trio's forceful, economic interplay to good effect, and one that stands in dramatic contrast to the dreamy soundscape "Above & Below." Fusion remains an underappreciated musical language, but this is a fine live showcase for one of its master linguists.

Track listing:
All tracks written by Allan Holdsworth, except where noted.

1. "Lanyard Loop" 5:46
2. "The Things You See" 6:53
3. "Alphrazallan" 7:04
4. "Funnels" 5:01
5. "Zone" (Holdsworth, Steve Hunt, Gary Husband, Jimmy Johnson) 9:19
6. "Water on the Brain Pt.II" 5:30
7. "Above & Below" 8:21
8. "Gas Lamp Blues" 7:59
Total length: 55:53

Personnel:

Allan Holdsworth – guitar
Chad Wackerman – drums
Jimmy Johnson – bass

Tempest - 1973 [1994] "Tempest"

Tempest was a British progressive rock band active from 1973 and 1974. Its core members were Jon Hiseman on drums and Mark Clarke on bass. They released two studio albums before breaking up.

Hiseman and Clarke had played in Colosseum together and formed Tempest in the beginning of 1973. For the band's first, eponymous album (originally called Jon Hiseman's Tempest), the line up was completed by Allan Holdsworth on guitar and Paul Williams on vocals and keyboards.
Later in Tempest's brief history, they were joined by Ollie Halsall, who had begun playing guitar with progressive rock band Patto]. With two guitarists, the group played a number of shows including a June 1973 show at Golders Green Hippodrome, released as a bootleg called Live in London 1974. By the time a second album was recorded, 1974's Living in Fear, Tempest was down to a trio, consisting of Hiseman, Clarke, and Halsall; reportedly Holdsworth didn't want to play alongside a second guitarist. The band broke up soon after.
In 2007, a double CD anthology was released entitled, Under the Blossom which featured remastered editions of the two studio albums, plus two previously unreleased bonus tracks. It also included the famous 1973 BBC live recording of a concert in Golders Green, which featured both guitarists Allan Holdsworth and Ollie Halsall (in his first appearance with the band).

When Jon Hiseman split Colosseum in 1972. he resolved to take the rock aspects of his music to their logical conclusion. To this end he retained the services of Mark Clarke on bass/keyboards/vocals, who had been with him in the last Colosseum lineup; his rock intentions were signalled by the recruitment of Paul Williams on guitar/ keyboards/vocals, who had previously seen service in Juicy Lucy and Zoot Money's Big Roll Band. 

The fourth member of the new band was Allan Holdsworth on  guitar/vocals/violin. Holdsworth was a rock guitarist with jazz leanings (rather than vice versa), and in a sense this definition tells you the difference between Tempest and Colosseum. It was in this band that Allan Holdsworth came to critical attention, his only previous recorded outing being an album with the band Igginbottom's Wrench on Deram in 1969.

Tempest was an apt name for the band, as their eponymous debut album showed. With Hiseman drumming up a storm and Clarke adopting the wise approach of playing simply but strongly (a flash drummer and a busy bassist never go together), the foundation was laid for Williams and Holdsworth to wail and moan over a series of complex progressive compositions.

 

Formed by drummer Jon Hiseman in 1974 after the break up of COLOSSEUM, TEMPEST (no relation to the US band of the same name) are most notable for their line up rather than their albums. Hiseman brought in an at the time very young guitarist by the name of Allan Holdsworth, with Mark Clark (bass) and Paul Williams (vocals) completing the band. Clark had also been a member of COLOSSEUM. Paul Williams had played with JOHN MAYALL’S BLUESBREAKERS and JUICY LUCY.
TEMPEST released two albums with Peter “Ollie” Halsall (PATTO, SCAFFOLD) replacing Holdsworth for “Living in Fear”, and taking on keyboard duties for that album too. He replaced the departed Williams on vocals, resulting in a completely different sound for that album. Their music is more jazz rock than fusion, and Hiseman’s COLOSSEUM influences can be heard in the jazz influences in both albums. While “Living in Fear” was more direct and dynamic than the first self titled album, neither was particularly satisfactory.
Hiseman went on to form COLOSSEUM II, while Holdsworth found varying degrees of success both as a solo artists, and with bands such as GONG, SOFT MACHINE, UK and BRUFORD. The late Ollie Halsall (died 29 May 1992) recorded with BOXER and Kevin Ayers among others. Clarke worked with various bands including NATURAL GAS, URIAH HEEP, MOUNTAIN AND RAINBOW.
 

 Track listing:

 
1. Gorgon (Hiseman, Clarke, Holdsworth) - 5:41
2. Foyers Of Fun (Hiseman, Clarke, Holdsworth) - 3:38
3. Dark House (Hiseman, Clarke, Holdsworth) - 5:00
4. Brothers (Hiseman, Holdsworth) - 3:35
5. Up And On (Edwards, Holdsworth) - 4:16
6. Grey And Black (Clarke, Bottomley) - 2:26
7. Strangeher (Clarke, Hiseman) - 4:07
8. Upon Tomorrow (Clempson, Hiseman) - 6:15

Personnel:

 
*Jon Hiseman - Drums
*Mark Clarke - Bass
*Paul Williams - Vocals
*Allan Holdsworth - Guitar

Allan Holdsworth - 1976 [2017] "Velvet Darkness"

Velvet Darkness is the first studio album by guitarist Allan Holdsworth, released in 1976 through producer Creed Taylor's CTI Records.

The tracks for the album were originally recorded by engineer Rudy Van Gelder at his Van Gelder Studio in New Jersey. According to Holdsworth, this was done during a rehearsal session, after which the tapes were released by CTI without his or the other band members' consent. None of the musicians involved ever received royalties for their work. Holdsworth therefore considered the album an unauthorised release and not part of his discography.

This debut solo release by Allan Holdsworth has an "in the raw," coarsely presented, jam-session quality complete with warts and all, as well as real gems of jazz fusion shining through. A first hearing of this release in its vinyl version might provoke laughter at how really bad it sounds compared to Holdsworth's other releases as well as his playing with other groups. As it turns out, Holdsworth himself abhors this release (considering it "a real terrible disaster"), and has taken legal action and had it removed from production for several reasons.

The original label used rehearsal tapes to compile it, deeming it unnecessary to finance real sessions. During the recording session, Holdsworth had to hurry through each song and apparently never obtained the masters to go over before release. In essence, the original release was nothing more than a taped rehearsal, packaged by CTI as an album without Holdsworth's permission.

This recording has been bootlegged by label after label, none of the musicians involved ever saw any royalties, and no legal paperwork exists. (The recording's known labels and release/re-release dates include CTI Records [1976], King Records [1976], Epic Associated Records [CD, 1990], King Records [Japanese-only CD, 1994], and CTI Records [Japanese-only CD, 1997]. Velvet Darkness was also released in 1997 on an unknown label in Japan as a bootleg CD; an original copy of the vinyl LP album had been transferred to the CD.)

The 1990 release with alternate takes (just more pieces dredged up from the jam-session practice tapes) is indeed an interesting snapshot of young stellar musicians doing their thing in a laid-back but energetic fusion-funk-rock groove. It is for all the above reasons that this is indeed a completist/collectors item nowadays. Included are the now very rare recordings of Holdsworth playing acoustic guitar and violin, which he does very well. The alternate take of "Gattox" is a special treat, featuring Holdsworth soloing with an intensity and emotive power that echoes all the best dynamics jazz fusion could offer in the '70s.

This 2017 reissue is from Talking Elephant and the remastering is awesome! You can hear clearly every instrument from the musicians, the scorching guitar and violin of Holdsworth, pounding bass of Alphonso Johnson and the monster drumming of Narada Michael Walden, Same as the 1990 CBS reissue it comes with 5 alternate takes of the original tracks. Original album only at 30 min. but with the alternate take the whole cd runs at 53 minutes. This is AH's first album though he disowns since it is a "practice session" and took legal action to stop the release back in the 1990s. Does it sound like a rehearsal session? Absolutely not, it is a great jazz rock fusion album. The only let down is that there is no booklet of reading just the CD sleeve album cover. Even if you have the CBS issue get this one since there is a big improvement in sound quality.

This album is very raw. High energy. Crisp sound. Keyboards are cheesy sounding, but when were they not from that era? The drums are GREAT. Allan plays violin on this one also. I met him once during the I.O.U tour (25 years ago???), and he told me he hated this album intensely. In fact I asked him to sign mine, and he refused. He actually tried to BUY it from me!! He was not kidding. He said he wanted it out of circulation. I cannot imagine why.

R.I.P. Allan Holdsworth.

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Allan+Holdsworth

Track listing:

01. Good Clean Filth (5:20)
02. Floppy Hat (2:46)
03. Wish (4:20)
04. Kinder (3:07)
05. Velvet Darkness (4:42)
06. Karzie Key (3:11)
07. Las May (1:38)
08. Gattox (4:51)

Bonus tracks:

09. Good Clean Filth (Alternate take) (5:38)
10. Kinder (Alternate take) (3:07)
11. Velvet Darkness (Alternate take) (4:44)
12. Karzie Key (Alternate take) (2:15)
13. Gattox (Alternate take) (6:47)

Total time 52:26

Personnel:

- Allan Holdsworth / acoustic (2,4,7) & electric guitars, violin (6)
- Alan Pasqua / electric piano
- Alphonso Johnson / bass
- Narada Michael Walden / drums

Allan Holdsworth - 1986 "Atavachron"

Atavachron is the fourth studio album by guitarist Allan Holdsworth, released in 1986 through Enigma Records (United States) and JMS–Cream Records (Europe). The album's title and seventh track, as well as the cover art, are references to the "Atavachron" alien time travel device from the Star Trek episode "All Our Yesterdays". This marks Holdsworth's first recorded use of the SynthAxe, an instrument which would be featured prominently on many of his future albums.

John W. Patterson of AllMusic gave Atavachron four stars out of five, describing it as "semi-progressive" with a "symphonic element" and praising it as "clear evidence of the genius Holdsworth was demonstrating release after release". He also highlighted the use of the SynthAxe, as well as praising the "beautiful female vocals" of Rowanne Mark, who makes her first of two appearances on a Holdsworth album.

For a little background, back in the '80s the SynthAxe was invented. It looked like something that fell out of a UFO. It was guitar-like with sets of strings and other onboard controls that allowed the triggering (playing) of synthesizers. What was unique was that guitarists could therefore play a synthesizer without needing a great amount of keyboard expertise. The SynthAxe was the interface that very uniquely interpreted a guitarist's skill into synth sounds. For guitarist Allan Holdsworth, it was yet a whole new way to achieve the sounds unvoiced in his soul in ways he just couldn't do with a standard guitar. Holdsworth has always sought a horn-like voicing with the ability to manipulate a note in a myriad of ways. He is known for being one of the most unique stylists on guitar, but it is the SynthAxe that allows him to go places a guitar can't reach. This release was special in that it marks Holdsworth's first use of the SynthAxe alongside electric guitar. The SynthAxe sounds more like a keyboard than a guitar. It has a wider sound spectrum than keyboards and in this release you will hear a myriad of synthscapes and effects. This release offered a semi-progressive symphonic element and served to ever stretch the boundaries of jazz fusion. Beautiful female vocals in one song framed by surrealistic visual musicks of the SynthAxe and keyboardy leads by Holdsworth may have turned guitar fans off, but this effort is clear evidence of the genius Holdsworth was demonstrating release after release. And as expected, Holdsworth continued to strive for that reed voicing and phrasing on his guitar solos, which merely pushed him to his best.

Atavachron is the most enlightening, coherent piece of musical thought ever committed to record. Compositionally outstanding, instrumentally unsurpassable, theoretically impossible (!), technically outrageous, expressively devastating, and technologically cutting edge even by 2007 standards, Holdsworth and his assembled gents take us on a visionquest, a catharsis of epic proportions. The moody, yet cheery opening track, Non-Brewed Condiment, is the weeder track: if the Synthaxe puts you off you'll pull the needle right here. Unfortunate if you do, though, when you realize what he's doing harmonically. After having listened to this track for at least 20 years, I find it's a part of my life now. When I'm in my imaginary world where life is perfect, this song is the soundtrack of my expanding mindscape. Then the major-chordy Funnels, originally written for saxophone, show what technique can coax out of a mere electric guitar. Wonderful keyboards, amazing accompaniment. Bass is killer throughout, as is percussion. His old boss Tony Williams steps in on the ridiculously interesting Looking Glass, elevating the experience. I love the funky Dominant Plague, and Chad Wackerman moves me to foul language every time...what a guy. Atavachron really feels like some sort of science fiction journey; you can hear the time when you're in the time machine if you use your imagination, that sort of pedal-tone part. Mr. Berwell is one of the most beautiful pieces of music ever written post-Home, and the backward echo effect always makes the resolved tone almost heard, but not stated directly until the end. Must be heard to be appreciated. Finally, All Our Yesterdays is the place where even his staunchest fans might wish to part company, until they realize the operatic/song-like bit is just an introduction to the band free-improvisation cycle that characterized many of Holdsworth's recordings of this period. I personally like this part, but it's sort of a mood-breaker as well. If you like moody albums with some cheer, like that REM Automatic for the People, check this out. If you are interested in the future of composition, harmony, and physical technique on instruments stringed or otherwise, you need this record. Hold out for the CD if you can, but I was happy with my cassette for 15 years. Thank you Allan Holdsworth.

I listen to music because I love the elements and the moods of it...although my initial interest usually sparks from technical ability and musical intellectuality, (as was the case with holdsworth) sometimes musicians break things down to more then it needs to be. You can talk about how his voicings are unheard of, his interesting use of octave displacement in chord voicings, or his unbelievable technical ability...but it all comes down to the way the music feels for me. Holdsworth is like no other; he can really take you to places you'll take years to fully comprehend, and be moved in different ways for a long time. You can close your eyes and see the notes bouncing and flowing and enter complete musical bliss, encompass sadness, confusion, happiness, anger...it is all on this record.

He also loves a good beer...and that's the final reason that one of my favorites! 

Track listing:

All tracks written by Allan Holdsworth, except where noted.

1. "Non Brewed Condiment" 3:41
2. "Funnels" 6:15
3. "The Dominant Plague" 5:45
4. "Atavachron" 4:45
5. "Looking Glass" 4:36
6. "Mr. Berwell" 6:24
7. "All Our Yesterdays" (lyrics: Rowanne Mark) 5:26

Total length: 36:52

Personnel:

Allan Holdsworth – guitar, SynthAxe, engineering, mixing, production
Rowanne Mark – vocals (track 7)
William Edward Childs – keyboard (tracks 2, 5)
Alan Pasqua – keyboard (tracks 3, 4, 6)
Gary Husband – drums (tracks 1, 2, 4, 6)
Chad Wackerman – drums (tracks 3, 7)
Tony Williams – drums (track 5)
Jimmy Johnson – bass

Tony Williams - 2016 (1975) "Believe It" - (1976) "Million Dollar Legs" - (1979) "The Joy Of Flying"

Digitally remastered two CD set containing Jazz drummer Tony Williams' three albums for Sony, dating from 1975, 1976 and 1979. The first two feature guitarist Allan Holdsworth whilst Joy Of Flying has, amongst others, George Benson, Stanley Clarke, Brian Auger, Herbie Hancock, David Sanborn and Ronnie Montrose. Williams, who played with everyone from Miles Davis to John Lydon's PIL, sadly died at the young age of 51 in 1997.

After the original Lifetime split, Tony Williams tried desperately to make the next "great album".
He found his opportunity when he found Allan Holdsworth, a prog-rock veteran of Tempest, Gong, & Soft Machine.
Holdsworth approached the electric guitar with a jazz feel, his Gibson SG Custom sounding often like John Coltrane's saxophone.
Tony Williams and Holdsworth found common ground, and each brought in a musician capable of expressing the power and energy that Williams felt his music had been lacking. Bassist Tony Newton, a veteran of Motown sessions, was picked by Williams to hold it all down. Holdsworth was taken with the abilities of keyboardist Alan Pasqua, who not only could lay out the head of a piece,but was a fine soloist as well.This was to be the last edition of Lifetime, but this album, released in 1975, re-established the band as a force to be reckoned with.

They just don't make 'em like this anymore! 28 years after its original release, this album STILL sounds as invigorating as the day it was released. Tony Williams, much like his mentor Miles Davis had a knack for picking great talent for his bands, especialy young upstart British guitar virtuosos.

As if John McLaughlin wasn't enough, he went and found the soft-spoken and ridiculoulsy innovative Allan Holdsworth, who spun melodic and fluid solos with the ease of a saxophonist. Already having stints with Tempest and Soft Machine under his belt, Holdsworth's style was jumping to the next level already, and Tony Williams did nothing to stand in the way, in fact, Allan was heavily encouraged and cheered on in his explorations by his bandmates here. Allan did things that just sounded absolutely impossible on a guitar at the time, and I remember so vivdly hearing this album at age 16 and having my jaw scraping the ground in amazement!

Armed with nothing more than a Gibson SG and a Marshall amp, Allan H just roared in an destroyed the place with his emotionally charged soloing and exploratory compositions, and a finely tuned musical sense to make te compostions of his bandmates come alive! Marrying this to William's inventive powerhouse drumming, Tony Newton's funky slithering bass and Alan Pasqua's glassy keyboards, this version of the Tony Williams Lifetime was a force to be reckoned with.

The other thing that still grabs me about this album is the open. raw live sound with minimal overdubbing, as honest and accurate in capturing this band's power in the studio as you could hope for. There's not one weak cut on here, ranging from the stomping funk of "Snake Oil" to the ghostly chord melody of "Fred" and the rip snorting brilliance of "Mr. Spock" (especially with the section where Williams and Holdsworth switch roles, Tony putting forth the solo of his life and Holdsworth bashing out angry Black Sabbath-like power chords underneath before roaring to a great close). The bonus tracks are a VERY worthwhile addition as well, "Letsby" is a slightly different take on "Mr. Spock" and "Celebration" get's more funky while still snarling like a panther (thanks again to Allan Holdsworth's raging guitar).

A serious fusion classic if ever there was and definitely worth adding to your library. Turn it up to 11 and let your jaw drop again!

I'm a drummer and have been playing 56 years. Among my most influential drummers Tony Williams, Billy Cobham, Lenny White, Mitch Mitchell, Chuck Burgi, Buddy Rich to name a few, I always have to reach back to Tony Williams who was so acrobatic, fluid, musically driven and down right AWESOME. "Believe It" was totally satisfying and inspirational, the guitar work by Soft Machines Allan Holdsworth is.....ah....PERFECT and timeless, I had this album when it originally was released and over the years wore it thru and had to replace it. 100% satisfied

1975 was still a year of great fusion records and this one is without a doubt one of them. Tony Williams returned with a brand new, fresh approach to his sound. The music feels tight but it's actually quite loose, thanks to the masterful musicians he picked. The opener Snake Oil is a killer track with a pounding, funky bass line and a riff that must be heard to be believed.
Allan Holdsworth's guitar work fiery yet mellow while Alan Pasqua and Tony Newton are both impressive on keys and bass respectively. Producer Bruce Botnick mahe sure Tony's drums sounded strong without making them invasive to great result. Needless to say, his drumming is amazing throughout and on the closer Mr. Spock, he takes to the spotlight for the delight of the listener. 35 years on, this has earned the status of a fusion classic.

The album's final piece, Holdsworth's "Mr. Spock" is an all-out jam of epic proportions.
Pasqua and Newton' primary task is to hold the piece together, for this showcase is all about electric guitar and drums.
After the pace is set and Pasqua takes his solo, Holdsworth plays a solo which has been described as no less than "apocalyptic",pulling out all the stops, and throwing caution to the wind.

It would be an understatement to say that there was a fair amount of variety on this set. Drummer Tony Williams is heard in two duets with keyboardist Jan Hammer, with a quartet also including keyboardist Herbie Hancock, Tom Scott (who unfortunately sticks to lyricon) and bassist Stanley Clarke, and he welcomes rock guitarist Ronnie Montrose, keyboardist Brian Auger, guitarist George Benson, Hammer and tenorman Michael Brecker on other tracks. Much of this music is closer to R&B than to jazz, although there are many strong moments. But the most interesting selection is certainly "Morgan's Motion" which matches Williams with pianist Cecil Taylor in a powerful (and completely atonal) collaboration.

http://jazz-rock-fusion-guitar.blogspot.com/search?q=Tony+Williams

Track Listing:

Disc: 1
  1. Snake Oil
  2. Fred
  3. Proto-Cosmos
  4. Red Alert
  5. Wildlife
  6. Mr. Spock
  7. Sweet Revenge
  8. You Did It to Me
  9. Million Dollar Legs
  10. Joy Filled Summer
  11. Lady Jade
  12. What You Do to Me
  13. Inspirations of Love

Disc: 2
  1. Going Far
  2. Hip Skip
  3. Hittin' on 6
  4. Open Fire
  5. Tony
  6. Eris
  7. Coming Back Home
  8. Morgan's Motion

Personnel:

 "Believe It" & "Million Dollar Legs"

    Allan Holdsworth – guitar
    Alan Pasqua – keyboards
    Tony Newton – bass
    Tony Williams – drums

 "Joy Of Flying"

    George Benson - Guitar
    Herbie Hancock, Jan Hammer, Brian Auger, Tom Scott - Keyboards
    Stanley Clarke, Paul Jackson, Mario Cipollina - Bass
    Michael Brecker - Saxophone
    Ronnie Montrose - Guitar
    David Sanborn - Alto saxophone
    Ronnie Cuber - Baritone saxophone
    Barry Rogers - Trombone
    Randy Brecker - Trumpet
    Ralph MacDonald - Percussion
    Jon Faddis - Trumpet
    Cecil Taylor - Piano

Allan Holdsworth - 1987 "Sand"

Sand is the fifth studio album by guitarist Allan Holdsworth, released in 1987 through Relativity Records (United States) and JMS–Cream Records (Europe).

Brit guitar hero Allan Holdsworth, ex of the Soft Machine, Gong, U.K., and Bill Bruford and Annette Peacock's solo projects, has been wildly inconsistent when it comes to his solo projects. Completely bonkers for technology, he's employed every gadget he can get his hands on own records, and has gotten results that range from the near sublime to the kind of dross one usually associates with prog excess. But Sand is a different animal, a respite from the relentless kitchen sink approach Holdsworth was mired in through much of the late '70s and early '80s. Utilizing a new contraption, the "Synthaxe," a guitar that has the tonal and sonic possibilities of the synthesizer but can be played straight as well, it seems to satisfy the artist's technology jones, and allows him to compose sensitively for the instrument while not forgetting he's a guitarist first. Guitar fans might be a little put off by the sounds and textures of the synthaxe, which allows for a guitarist to subvert its limited range of tones and colors for rounded off keyboard sounds and warm textural aspects. In other words, the traditional sound of the electric guitar -- and, in particular, Holdsworth's trademark sound -- is nearly absent. In place is a near keyboard sound played in the same way he plays guitar. The six compositions here range from the knotty, mixed tempo, arpeggio-rich title track to the reflective, near pastoral grace of "Distance Vs. Desire" to the electronically astute, fast and furious jazz-rock fusion of "Mac Man." The only time a keyboard actually appears is Alan Pasqua's solo in "Pud Wud," where the guitarist wields his traditional instrument and rips free of the constraints of his own composition for some truly fiery pyrotechnics. The rhythm section of bassist Jimmy Johnson (a killer electric jazz bassist who has also played with Percy Jones and Brand X) and drummer Gary Husband are more than equal to the task of accompaniment, and, in fact, are creative foils for Holdsworth, who allows his sidemen plenty of room to shine -- also unlike many of his earlier projects. Is Sand the mark of a new contentment and refined aesthetic for Holdsworth? Only time will, but it is safe to say that this is one of his most innovative and texturally beautiful to date.

Aside from Holdsworth's obvious guitar virtuosity, any person with any kind of musical training or background MUST appreciate this innovator's unique approach to chord progression and musical (as opposed to avant garde) application of modal scales. This man travels where few dare tread with a true gift of "melody" soloing. Also pleasing to the curious ear is his use of the Synthaxe and other synth rythm instruments.

I am guessing on the length of this CD. In my mind, Sand is one of Allan's best works ever! There is excellent use of the Synthaxe guitar with the encasings of a dynamite band. Allan, at the time of its release, explores new territory just outside of hard prog... but not really a commercial effort such as Avachron. This album stands out from his many wonderful records as being one of the most inventive releases with excellent flows and textures... and of course, AWESOME playing by ALL! Fantastic spin!

People who are not into jazz music often talk of this genre going round in circles, that its artists play self-indulgent and tuneless noodlings which are unpalatable for fans of rock and pop music. Those people usually find Allan Holdsworth's '80s output and his work with prog-rock supergroup U.K. very interesting and innovative, mainly because Holdsworth managed to avoid empty musical gymnastics and overlong guitar solos in favor of kicking riffs and a completely new style which sounded unlike anything that preceded it. Now, 1987's "Sand" sees Holdsworth leaning more towards abstract electronica and giving up the vocal material and jazz-rock arrangements of earlier albums, a not unexpected thing, perhaps, since "Atavachron" certainly hinted at the things to come by introducing the Synth-axe guitar, an instrument whose sound appears more like a cross between violin and keyboard. That said, it's still difficult to pin down "Sand" stylistically -- Holdsworth's best records always seem to exist outside of any accepted musical formulas while providing a minimum of accessibility even for the uninitiated listener -- yet this album ends up sounding very fresh and kind of cool at the same time. The way all the tracks on "Sand" build is rather similar to much electronic music (imagine a jazzy version of Tangerine Dream), but in place of the monochrome, slow-motion style usually associated with this musical avenue, a dynamic and unpredictable impetus predominates. 

 Holdsworth's spacious production is dynamic and relaxing at the same time, so this album works very well as something either concentrated on or left running as background music. The 5 1/2-minute title track sets the scene with its synth-like, airy chords which are suddenly joined by dense drum patterns, ominous bass pulses and dark-sounding undercurrents of electronic washes -- a fascinating demonstration of 'urban cyber-jazz' with a variety of instrumental touches and imaginative melodies. In contrast to most other tracks here, "Distance vs. desire" totally ignores traditional rhythms and relies of layers of peaceful Synth-axe soundscapes; it's the least impressive and most repetitive piece on the album, but nevertheless has something to offer. Thankfully, things become much more abstract and compelling with the 7-minute "Pud Wud", which opens with field recordings taken from a playground, then alternating several instrumental sections and solos for the individual musicians before one instrument after the other is stripped away and the piece disappears. The path changes again with the heavily echoed, industrial drum loops and subharmonic touches of "Clown", mixing that with incredible chords and solo sections by Holdsworth before abruptly returning to massive drum patterns and light atmospherics. "Bradford Executive" also manages to hold attention during its 8 1/2-minute length; it begins with bell-like signals and crackling static, adding mimicked vibraphones and rather carnivalesque elements which provide a launching pad for the longest guitar solo on the album. The playful "Mac Man" closes the album on a more rhythm-heavy note by using some sequences which were generated by a Mac Computer, later accompanied by strong guitar screams/washes from Holdsworth and some melodic Synth-axe chords. Some of the these sounds bring to mind Tangerine Dream's mid-'80s work. In conclusion, if you have a predilection for music which is excitingly different from the run-of-the-mill modern jazz, there isn't a better place to go than "Sand": It features explorations to see what can be done with a guitar/bass/drum arrangement, pushing forward into previously unknown territories and avoiding conventional approaches to melody and rhythm with remarkable dexterity. 

"Sand" features guitarist Holdworth's experiments with the Synthaxe instrument--kind of a cross between a guitar and a synthesizer. "Sand" also includes Jimmy Johnson on bass and Chad Wackerman on drums and percussion, among other artists. Featured are beautiful compositions and fiery guitar solos - well, what else would you expect from the legato master?

Interview: http://www.fingerprintsweb.net/ah/press/gui1187.html

Track listing:

All music composed by Allan Holdsworth, except where noted. 

1.     "Sand"       5:25
2.     "Distance vs. Desire"       5:16
3.     "Pud Wud"       6:45
4.     "Clown"       5:14
5.     "The 4.15 Bradford Executive" (Holdsworth, Chad Wackerman)     8:28
6.     "Mac Man"       4:01

Total length: 35:09

Personnel:

Allan Holdsworth – guitar, SynthAxe, engineering, mixing, production
Alan Pasqua – keyboard
Gary Husband – drums (tracks 1, 3)
Chad Wackerman – drums (tracks 4, 5), percussion (track 6)
Jimmy Johnson – bass (except track 6)
Biff Vincent – Roland Octapad bass (track 6)
John England – sound effects
Francois Bardol - Artwork 

Allan Holdsworth - 1989 "Secrets"

Secrets is the sixth studio album by guitarist Allan Holdsworth, released in 1989 through Intima Records; a remastered edition was reissued in 2008 through Eidolon Efformation. The album features drummer Vinnie Colaiuta, rather than regular collaborator Chad Wackerman; Wackerman did, however, write and supply drums for the song "Peril Premonition".

A true masterpiece, Secrets is the massive culmination of Allan Holdsworth's years-long legato technique and SynthAxe development. Conceptually inspired by but significantly different from the electric guitar, the SynthAxe is not a guitar-controlled synthesizer; it's a completely unique instrument of its own, making the guitarist's gripping performances all the more impressive. Holdsworth actually plays both instruments at a world-class level, setting an almost unreachable technical standard for aspiring rock, jazz, and fusion players. In addition to Secrets' technical accomplishments, Holdsworth contributes some of the most inspired songwriting of his career. The instrumental choruses are subtle and fluid, and the vocal lines on "Secrets" (performed by Rowanne Mark) and "Endomorph" (Craig Copeland) surpass earlier Holdsworth-penned efforts with their touching lyrics and melodies. Simply put, this 1989 Enigma release is a triumph, the final contribution to the artist's seminal '80s collection that includes Metal Fatigue and Atavachron. Fans of progressive music (no matter the genre) are recommended to search out the furtive Secrets, and unearth the sadly hidden knowledge of a musician's sublime transcendence of form, through passion and genius.

This CD just slams from note 1. Vinnie Coaliuta does a fantastic job on drums. I remember talking to Vinnie a few years before this and asking him who he would like to play with that he hadn't had the oppurtunity to yet. His reply was very quick. . . Holdsworth. He was a bit connected in that Holdsworth liked Vinnies playing and Vinnie was doing a band with Holdsworth's then bassist Jimmy Johnson. Great as Vinnie's performance is (by far the best drum performance of that year) it isn't what carries the CD. Holdsworth sounds amazingly fresh on this CD. He is ripping, of course, but there is more to it. He was backing off of the Synthaxe at this point. Not that he was done with it, just backing off. I am always moved by the two compositions 'Joshua' and '54 Duncan Terrace.' This is just a fantastic CD. One of those that you just think somehow this CD absolutely HAD to be recorded.

City Lights, the first track, is jaw-dropping - Holdsworth seems possessed by the spirit of Coltrane and just lets loose. City Lights takes off like a rocket plane, soars into space, then comes back to earth again, depositing the listener safely - leaving him/her to wonder what happened and where they were taken to. As with many of Holdsworth's tunes, especially his faster, complex ones, they beg to be heard again and again. Vinnie Coliauta's drumming is in lock-step with Allan, creating a hard-driving, fiery paced tune fueled with intensity.
Like fractal geometry, the more you follow Holdsworth's musical lines as they smoothly spiral around, getting more and more reflective on an overall theme/picture, the more you realize their incredible detail and intricate structure. Holdsworth has truly tapped into something beautiful - something that makes him stand out as incredibly unique among a sea of other good and even great guitarists.

Of all the Fusion records I've heard, this is the best one. It showcases not only Mr H's superhuman ability on the fretboard, but at the same time, his ability as composer. What's amazing is that he is able to create highly melodic steams of notes at any speed. Sometimes fusion tends to get somewhat mechanical and metallic, but not on Secrets. Here the music is fresh, lyrical and fluid, filled with imagery and movement. Vocals on two songs contribute to the atmosphere, and keyboards add a lush symphonic backgrop to some of the songs. Recommended for anyone who likes fusion an contemporary jazz. 

Tracks Listing

1. City Nights (2:33)
2. Secrets (4:21)
3. 54 Duncan Terrace (Dedicated To Pat Smythe) (4:35)
4. Joshua (5:59)
5. Spokes (3:32)
6. Maid Marion (7:17)
7. Peril Premonition (4:44)
8. Endomorph (Dedicated To My Parents) (4:19)

Total Time: 37:20

Line-up / Musicians

- Allan Holdsworth / guitar, Synthaxe (2,5,8), spoken voice (7), producer & mixing

With:
- Rowanne Mark / vocals (2)
- Craig Copeland / vocals (8)
- Gary Husband / keyboards (1)
- Alan Pasqua / piano (3)
- Steve Hunt / keyboards (4,6)
- Jimmy Johnson / bass (1-6,8)
- Bob Wackerman / bass (7)
- Vinnie Colaiuta / drums (1-6,8)
- Chad Wackerman / drums & keyboards (7)
- Claire Holdsworth / spoken voice, in French (7)
- Jeffrey Ocheltree / "hammer" (7) 

Allan Holdsworth - 1976 [1990] "Velvet Darkness"

Velvet Darkness is the first studio album by guitarist Allan Holdsworth, released in 1976 through producer Creed Taylor's CTI Records.
The tracks for the album were originally recorded by engineer Rudy Van Gelder at his Van Gelder Studio in New Jersey. According to Holdsworth, this was done during a rehearsal session, after which the tapes were released by CTI without his or the other band members' consent. None of the musicians involved ever received royalties for their work. Holdsworth therefore considers the album an unauthorised release and not part of his discography.

This debut solo release by Allan Holdsworth has an "in the raw," coarsely presented, jam-session quality complete with warts and all, as well as real gems of jazz fusion shining through. A first hearing of this release in its vinyl version might provoke laughter at how really bad it sounds compared to Holdsworth's other releases as well as his playing with other groups. As it turns out, Holdsworth himself abhors this release (considering it "a real terrible disaster"), and has taken legal action and had it removed from production for several reasons. The original label used rehearsal tapes to compile it, deeming it unnecessary to finance real sessions. During the recording session, Holdsworth had to hurry through each song and apparently never obtained the masters to go over before release. In essence, the original release was nothing more than a taped rehearsal, packaged by CTI as an album without Holdsworth's permission. This recording has been bootlegged by label after label, none of the musicians involved ever saw any royalties, and no legal paperwork exists. (The recording's known labels and release/re-release dates include CTI Records [1976], King Records [1976], Epic Associated Records [CD, 1990], King Records [Japanese-only CD, 1994], and CTI Records [Japanese-only CD, 1997]. Velvet Darkness was also released in 1997 on an unknown label in Japan as a bootleg CD; an original copy of the vinyl LP album had been transferred to the CD.) This 1990 release with alternate takes (just more pieces dredged up from the jam-session practice tapes) is indeed an interesting snapshot of young stellar musicians doing their thing in a laid-back but energetic fusion-funk-rock groove. It is for all the above reasons that this is indeed a completist/collectors item nowadays. Included are the now very rare recordings of Holdsworth playing acoustic guitar and violin, which he does very well. The alternate take of "Gattox" is a special treat, featuring Holdsworth soloing with an intensity and emotive power that echoes all the best dynamics jazz fusion could offer in the '70s. Obtaining this release second-hand is probably the only and most proper way to find it now.

I agree with the other reviewers that this is a FANTASTIC work from Holdsworth. Perhaps my favorite. (Hard to decide between this and his completely opposite and awesome jazz album, None Too Soon.) The acoustic numbers on Velvet Darkness are incredible and beautiful. I would love to hear a whole album of that. I wonder if there are other songs from this session.

This album is very raw. High energy. Crisp sound. Keyboards are cheesy sounding, but when were they not from that era? The drums are GREAT. Allan plays violin on this one also. I met him once during the I.O.U tour (25 years ago???), and he told me he hated this album intensely. In fact I asked him to sign mine, and he refused. He actually tried to BUY it from me!! He was not kidding. He said he wanted it out of circulation. I cannot imagine why.

I love it alot, and find myself still listening to it surprisingly often even after all these years. It has held up better than many of his others thru the years. There are GREAT riffs on this. If you like Holdsworth even a little get this.

Tracks Listing

1. Good clean filth (5:20)
2. Floppy hat (2:46)
3. Wish (4:20)
4. Kinder (3:07)
5. Velvet darkness (4:42)
6. Karzie key (3:11)
7. Las May (1:38)
8. Gattox (4:51)

Total Time: 29:55

1990 CD release bonus tracks:

9. Good Clean Filth 5:38
10. Kinder 3:07
11. Velvet Darkness 4:44
12. Karzie Key 2:15
13. Gattox 6:47

Line-up / Musicians

- Allan Holdsworth / electric guitar, acoustic guitar, violin
- Alphonse Johnson / bass
- Alan Pasqua / piano
- Narada Michael Walden / drums