ALLAN HOLDSWORTH

Blues for Tony is a collection of live cuts from a Tony Williams New Lifetime tribute band made up of ex-Lifetimers Allan Holdsworth and Alan Pasqua, with Jimmy Haslip on bass and Chad Wackerman filling in for the deceased legendary Tony on drums. This is an extremely talented band and their take on modern jazz fusion is both intellectual and virtuoustic, unfortunately though, like a lot of modern fusion the music on here seems directed at a 'musicians only' audience. None the less, musicians will find a lot to like here. Holdsworth's guitar work is flawless and a little more aggressive than usual and Pasqua returns to a more 70s pseudo analog sound with fierce distorted faux Fender Rhodes solos that recall a youthful Herbie Hancock.

Some album highlights on disc one include Pasqua's hard bop swingin piano solo on It must be Jazz and his extended aggressive distorted electric piano ride on the remake of Holdsworth's New Lifetime fusion classic, Fred. This disc closes with a beautiful ethereal guitar intro from Holdsworth on his ironically titled Pud Wud.

Disc two opens with Looking Glass, which epitomizes what is so wrong with so much of modern fusion; a listless beat that lacks a defined pulse but allows for endless fills from the drums and bass, ethereal chord progressions that seem to modulate upwards but really go nowhere, and lengthy solos that give the effect of 'building', but also go nowhere. Unfortunately Pasqua's San Michele which follows, continues this more morose style of modern fusion at first, but fortunately this track is resurrected by Alan's bizarre psychedelic keyboard solo, nice stuff which leads to the more dissonant Mahavishnu styled outro and follow up tune, the energetic Protocosmos. Red Alert closes out disc two with some great high energy funk-rock with burning solos from both Al(l)ans and clears out the cobwebs from the disc opener.

Overall this double disc is best when Holdsworth, Pasqua and gang avoid the pitfalls of modern limp-wrested fusion for music school grad students and go for the more hard funky/rockin 70s sound when this genre had some grit and genuine life force. This double disc live set is recommended for fans of Alan Holdsworth, and also Alan Pasqua who delivers some of the finest keyboard playing of his recorded career.

I think that this brilliant compilation is really something essential of what any fan of guitar should have with the truest master of fusion guitar,the one and only Mr ALLAN HOLDSWORTH! It worth every cent and this double album will plenty satisfy not only Holdsworth fans,but especially the ones who want to try to make a serious musical discovery with this album! DISC1 is electric guitar with the unique sound that we know and DISC 2 is a synthaxe cd where we are delighted with the beautiful sound that only master Holdsworth can have it! Let's say that on disc 1 we have extracts from all the albums of Holdsworth from his electric period and we realise that time is making miracles with Holdsworth's music because it didn't has any trace of rust,au contraire it's so actual and defnitelly timeless!This monster guitarist is one of the most sincere and fdevoted he didn't make any compromise toward his fans,offering each time the best of the best!Holdsworth is out of time,tendencies,trends and has fallowed his only artistical credo to give the public the measure of his geniality!I think also that Holdsworth is stranger to any imitation or influences -he is in fact a guitar icon that has influenced thousands of guitareros,but none of them were able to reach to his trone and the title of the best fusion improivisional guitarist ever!On DISC 2 we can hear extracts from his synthaxe albums,where the superbe and unimitable sound of his instrument is even more beautiful!Great improvisional legetos and a fluent and accessible guitaristic style,impossible to be confused!It's really superbe music and this second disc contains selections from his major releases too!This album is a pearl in any colectioneer of progressive music and essential for the guitarist sector!For those who don't want any HOLDSWORTH solo album ,this compilation is perfect too,to discover his activity trough albums and different periods of activity!! In conclusion a very ,very complete and complexe selection of more than 2 hours of pure magic guitaristic wizzardty of the one and only ALLAN HOLDSWORTH,the fusion progressive guitar master! 5 STARS and sinceres compliments!

"My highest performance is contained in the latest work. "

It is likely to appear to not only the appearance of posture in which the compromise is not permitted to the music at which he always aims the remark of Allan Holdsworth and the technology because of the music at which it aims always but the improvement of various knowledge.

The sound source of live is indeed few and will be able to be caught as valuable material in the work that he announced. The sound source that the listener can enjoy as live officially admitted is a little.

It is said that Allan Holdsworth is always thought that the guest should enjoy live to perform live at that time in the hall. They the always latest as well as work are performances and ideas. Or, it performs. should develop then and thereOr, a tension and a little trouble might be included. However, they are the enjoyments that only the person concerned all obtains and live of all music might be also similar.

Allan Holdsworth that was well informed enough of the real pleasure of live of that did not announce an enough, live album by the time this album was announced. There might have been a part that was called "Red Light syndrome" according to his remark. Feelings to his performance are made remarks withering if it knows that the recording is done for the recording of live once. The always latest as for any state performance and idea. And, he guesses that he understands the charm of live.

However, it is guessed that some sound sources of live and confirmations of the state of the recording, etc. were always done. And, this album became an official, for he live album though existence and the image of some Bootleg existed. And, the hall where this album had been recorded was a hall that he had always been choosing for live in Japan every year.

It is this live performance of Trio by Jimmy Johnson and Chad Wackerman that supports the music of Allan Holdsworth for a long time. Allan Holdsworth always paid respect and the respect as the highest partner with these two people. Those acts might appear remarkably in three new tunes at that time. And, the idea of the perfection of ensemble of the repertoire that Allan performed for a long time and the tune that keeps always evolving is the points that should make a special mention.

However, it is said that Allan included worry in the title for the title of the album. Allan voluntarily prepared machine parts for the recording of live in this Japan at that time in top condition. However, the staff in the hall has changed an original state disregarding the state that Allan prepared. It is said that Allan was really disappointed at this event. "All Night Long" became the title of the work by "All Night Wrong". However, the content and the performance of the work are continuous of transcendence and the technique with exactly high quality by these three people. The sound source of live of this is a very important sound source in the history of his music.

Improvisation of "Things You See" developed from an original tune might be a highlight of this album. The perfection and the explosion of ensemble that can be listened in this tune might be marvelous. The degree of the change in "Funnels" might be also exactly progressive compared with the original. It always changes according to the character and the situation of the musician who performs the tune performed for a long time and one space is created. Posture that they always challenge music becomes a new tune and is offered to the listener. "Lanyard Loop" and "Alphrazallan", etc. might have opened the new front for the music of Allan. The music always revolutionized will not stay.

Allan Holdsworth announced this live album during 2002. It can enjoy the past sound source collected to "Then" and the best album besides this album announced for the first time officially. ｡It ..this album.. exists the known fan well valuable. Music of the fact and man who announced a live album however official heAnd, the listener might taste feelings that become one of the guests who enjoy live in this hall.

There might be a fact to which the style of the guitar multiplied at latter term in the middle of the 1980's is established by the technical breakthrough of HR/HM. The technology and machine parts have developed into the situation in Hard Rock on one the top, too. There was often what to make Allan Holdsworth appear in the name that the guitarist enumerated in the interview etc. in the situation in guitar Scene. And, for Allan Holdsworth to keep always challenging music by the spirit of apart from others is to depend on the appearance of the spirit that understands the music at which he should always aim and always makes new music.

His performance has an indeed original theory and method. Shape for fingerwork and mathematical theory. And, it is busy of tension note. Vocal nuance by repetition of arming. Phrase mainly composed of manner of controlling the fingering. And, it is accurate and a speed. All the methods that he does always exceed the category of understanding.

Point said that reason why he has nickname of "Spider Finger" made style copy melody of John Coltrane by him and established. And, the point whose his father is a pianist. The style thought out by replacing the progress of the melody and the code that the piano plays with the fingerwork of the guitar might be a performance that only he can do. He got togged up, and and, the fact started might exceed guitarist's frame as for musical instruments such as Sax and Violin and an introduction of various machine parts and an audiovisual theory get togged up gradually.

"Velvet Darkness" that recorded in 1976 and had been announced was first solo album for him. The idea that he had been warming since this time often appeared in the tune. The tune and the idea that he often live did since "i.o.u" is announced are already "Velvet Darkness". Or, it is adopted for "Igginbottom" in which he participated for the first time as a professional. Those elements were digested with own tune and the album of GONG. However, the content of "Velvet Darkness" and details until announcing were situations that were not able to be consented for Allan Holdsworth. It is said that "Velvet Darkness" is a work in the work that he announced that he doesn't admit either. The spirit of the misfortune that it keeps be an age and be apart from others for him might be proportional to the challenge and the change into music.

This factual album "i.o.u." might ..the first solo album true ..him.... finished. The fact to which he is making remarks on this album as one of the masterpieces might appear exactly in all tunes. And, his work is contained a reformative very much element and progresses taking the opportunity of this album. However, the situation of the misfortune that always happens to him besides the activity where he has walked might be a fate. A problem of machine parts and a money problem might always have annoyed him. He kept always showing deference to music and challenging in the situation and life. It is said to the content that he can consent most that it will have finished result "i.o.u". By the way, "i.o.u." has the meaning of "I owe you". He has expressed feelings and a frequent situation in the title of the album.

An indispensable musician for the back for Allan Holdsworth is participating in this album. Paul Williams that competes with Gary Husband and Tempest. A lot of tunes that he was performing for years as the repertoire of live are collected to this album. When "Velvet Darkness" and this album and are compared, the difference point and the change will be able to be discovered the performance method and how to make the sound. The performances such as GONG and U.K might have made the style of his performance certain.

Feelings of the music at which Allan completely aimed might appear remarkably in perfect "The Things You See" with progress and the anacatesthesia of a peculiar code. Guitar solo that comes in succession in the rhythm based on the rhythm of three has exploded. ..Jazzy by Paul Williams.. element contributes to the tune. This tune might be one of the masterpieces in the repertoire of Allan.

It has the element that the theme and the melody of "Where Is One" are complex and mysterious. Gary Husband offers a more complex rhythm and gives the tune the tension.

"Checking Out" has some, friendly melodies. However, it doesn't end in a simple tune. The method of harmony with the guitar and the processing of the space are splendid. Guitar solo that can be listened like RightHand is an astonishing fact. Eddie Van Halen performed and might have been astonished at t about Allan.

It is almost perfect shape in the repertoire in recent years. And, the highlight of "Letters Of Marque" to be able to amuse the listener by always changing the appearance by the various musicians' performances might be bass Solo and be Drum Solo. The composition looks like the progress of Jazz. It is live one of the tunes that always rise.

"Out From Under" will have the element of the lock and Blues. However, the melody of Vocal and progressing the tune are tunes with which the anacatesthesia overflows very much. The idea of the guitar by vocal harmony that appears on the way has succeeded, too.

Quiet atmosphere of "Temporary Fault" often appears in the idea of Allan and the composition of the tune back. The continuousness of a rapid change in the rhythm might be an important factor from Solo that the keyboard that appears only is beautiful for Allan.

This album has divided into the half by the song and the performance. And, "Shallow Sea" is a tune that he recently does. Especially, one of the important elements that decide the flow in composing of live is included. In Instrumental that he does, such a performance might be a part of the prototype by which his performance at this time is formed. The progress of a peculiar code is contained "Quietness" and "Movement" at the same time and progresses.

"White Line" would have been an important, in his repertoire at this time mysterious tune. The melody and the rhythm of the float in the tension in the space advance with some dash feeling. It might be a suitable tune that decorates the end of the album. Allan to express the music that had to be aimed without dropping the album-quality completely never had power.

This album was the first stage to accomplish establishment and evolution exactly for his music. And, it might be a masterpiece in his work. He always changes by the work, advances, and offers the listener various ideas. And, those elements are almost blocked in this album. And, "i.o.u." might be an album that has already executed and expresses Allan Holdsworth.

The act of applying a specific genre to the music at which oneself aims might not go in Allan Holdsworth. And, the career of his music has an indeed long history. It knows the work of Solo that he announced and he will learn there was a change in posture and the situation without the compromise for music very compared with the history of the music as for unexpectedly few facts.

The change and the evolution of a little music character might be able to be discovered for his work in the 90's. The tune and the dash feeling with high quality of "Wardenclyffe Tower" and "Hard Hat Area" might surely draw the flow from "Secrets". And, to make the music character at which he aimed every time the work was announced at this time an embodiment, various musicians were appointed for the recording of the album. Of course, competing of the musician who had understanding for his music was done.

Man who had not shown the posture that compromised for his work in the 90's gave width to the expression of own music by competing with the member of Vinnie Colaiuta and Tribal Tech. However, his style became apart from others occasionally might if the technology and knowledge were improved for the method of his performance and it advanced. The listener in the world to say nothing of the style will agree. Therefore, he might already have challenged music in another area.

The work that reconfirmed the method of the root and the expression of the self in the flow that offered the work with a good tension was "None Too Soon" for his work in the 90's as for indeed high-quality music. The flow of Jazz Rock offered to the listener by "None Too Soon" was true that restructured the flow that he had indeed done before. He had accomplished competing with a variety of Jazz musicians before. It is guessed that "None Too Soon" was produced in the meaning that shows deference to the flow and rule. And, a few changes appeared to the method and the idea of his performance on the boundary of the album. The album is this "The Sixteen Men Of Tain".

The exploding performance to make the listener listen to a past work might changed shape a little through the whole. Extension of route shown by "None Too Soon". Or, how to make the idea and the sound to put width on music. Of course, he can perform as exploding if necessary. It might have an approach different from the current work in the album. Fact with width in expression method. And, the style and the character of the musician who appointed it to the recording of the album might also influence. It might be an element about which it intentionally thinks from the start for Allan Holdsworth's producing this album.

Gary Novak of drum player known on business of Chick Corea and Alanis Morissette. And, it is deceased Bass player's Dave Carpenter now. And, Walt Fowler of the trumpeter known by competing with Frank Zappa. And, Chad Wackerman that participates in the album only by one. The meaning and the theme of something might surely be concealed in this album. The performance of Allan Holdsworth unified to surrounding musicians while basically uniting the organization of Trio is offering the listener indeed splendid flexibility.

Especially, a peculiar anacatesthesia and a transparent feeling of opening "0274" and "The Sixteen Men Of Tain" might be surprised at a few changes from the style of his past performance. However, always width to music has extended and the style might always be consistent. The tune from this album is often performed for live of him. "The Drums Were Yellow" dedicated to Tony Williams is a tune that has an exactly mysterious sense and is advanced. The flow of this tune might be appearance of work to which the current man was related and the respect to the root. Flexibility that the melody with which a transparent feeling of "Texas" overflows doesn't exist in a past work either is shown. It might be a tune that along a consistent flow of the album also of "Downside Up" in which Chad Wackerman participated. It might be understood that the element of the album is consistent.

The method of performing Allan Holdsworth might have developed still another stage in this album. Communication of intention with musician to participate in recording and restructuring of root. Or, the fact into which the guitar synthesizer has been introduced. The music of man who creates it while repeating dismantlement and restructuring will not end. Even if music to which he often evolved is offered to the listener, the listener can enjoy "Spider Finger" at any time.

Temporary merit

I.O.U. is one of Allan Holdsworth's best Jazz-Rock/Fusion albums and features his unique guitar playing in a band setting with bass, drums and vocals. The short Temporary Fault also features piano and violin which make the song a strong candidate for favourite moment on the album.

Jazz-Rock/Fusion is not my preferred type of music and I much prefer Holdsworth's work with Symphonic Prog bands like UK and K2 and also Hard Rock bands like Tempest. However, within the Jazz-Rock/Fusion genre in general, and Allan Holdsworth's discography in particular, I.O.U. is a strong album. Having only one vocalist makes I.O.U. a more consistent album than Metal Fatigue. But there are individual songs on Metal Fatigue that overshadows anything from this album. I give both these albums the same rating.

Holdsworth later made many albums in the same style as this one and unless you are a big fan of his, I.O.U. and Metal Fatigue are the only two of his solo albums you really need.

Letters Of Marquee is the longest track here and it features a drum solo. This should perhaps be the song titled Temporary Fault? However, it does not distract too much even if it is too long for its own good. The album as a whole also tends to drag a little bit towards the end, but overall it is a high quality piece of Jazz-Rock that can appeal to many progressive rock fans.

Good, but non-essential.

Road Games may very well be my favorite album that is 24 minutes long. I can't think of another album in my collection around that length (though Wikipedia classifies this as an EP), so I suppose it wins by default.

Allan has assembled quite a lineup with Jeff Berlin on bass and Chad Wackerman on drums. IOU vocalist Paul Williams returns for one song, and Allan somehow even managed to get Cream's Jack Bruce to sing on a few songs. Holdsworth and Berlin previously played together in Bill Bruford's band, which explains how well the two gel together on this album. Wackerman steps in as if he too had been playing with them for years.

Bringing Jack Bruce in to sing "Was There" and "Material Real" was a nice touch, but when you compare the vocals on these songs to those done by Williams in "Road Games", it makes you wonder why they didn't have Bruce record all the vocals for this album. Besides my issues with the vocals, "Road Games" is a good song built around an unusual sounding guitar riff. Out of these three tracks, my favorite is "Material Real".

"Water on The Brain- Pt. 2" is highlighted by Jeff Berlin's fantastic fretwork via a lengthy bass solo, but I prefer the structure of the album's other instrumentals "Three Sheets To The Wind" and "Tokyo Dream". While my two preferred instrumentals are lower in tempo than "Water", Allan's guitar playing has more beauty in them and the compositions are more melodically interesting. I forget where I've heard it before, but I've heard "Water" with vocals (Paul Williams), and prefer it to this instrumental version.

Regardless of its shortcomings in some areas, Road Games is a 4-star album. If only it was a bit longer.

The album of Allan that counts from "The Things You See" announced in 1980 and accomplishes competing with produced Gordon Beck through years of indeed eight year ..work.. has finished the symbol of his style in the 80's exactly.

The introduction of Synthaxe was one expression to music as the challenge and the reformation for Allan. I think that I got one answer by competing with Beck of the attempt of the technology to "Secrets" in 1989 because I place "Sand" announced in 1987.

Making the sound might be matched to some degree and the composition that catches the breath of two people from another angle respectively and matches it give the impression of a mechanical limited element.

Answer to one technology at which Allan aimed at that time. And, he was interested in the childhood in Saxphone and Violin and a mechanical age was always an always common element in the progress of making the sound like the voice and a complex code.

The fact who is not the popular writer of the guitar that Allan is simple can been proven even by the performances of the work of this duo and other musicians. If the degree of degree of freedom is considered, I feel the area of his width also with works other than Solo though the performance that exactly enters the item of Jazz/fusion when the history of his music is researched doesn't exist officially so much.

Even if a lot of tunes that Beck composed existed in the album, Allan was able to answer it because the element existed between two people since beginning.

It is guessed that the sound was able to be matched and to be removed because musical instruments each other are reformative as a collective impression. The tune that gives a certain kind of POP in addition to a good, original element of Allan and a fresh impression has the atmosphere that might be never so listened in Solo of Allan.

I continue to be amazed at the numbers of good studio recordings that linger in the can, relying on memories and then deep and dusty searching of the record studio archives, to be recovered and released. Here is another.

This recording finds Holdsworth during a very busy period of self-evaluation (including doubts about being in the music industry) but experimenting across a broad range of jazz (e.g. as illustrated by the radio broadcasts with John Steven issued over 3 CDs, the two albums recorded in France with Gordon Beck, laying down the 'IOU' album - although released several years later - etc). John Stevens ran a "school" of jazz improv and was well known in the UK for being the free drummer to play with. Danny Thompson was very much in demand on the UK folk circuit but also known for his uncompromising jazz playing. (One of the best folk rhythm sections heard, is that of Thompson and Stevens found on John Martyn's 'Live At Leeds' album).

The liner notes here are relatively limited (for instance no explanation as to why only two tracks?), so I am assuming this recording was done in a similar way as the John Stevens/Allan Holdsworth radio recordings of the period, predominantly as improv. However, everything is melodic. The playing skills of all three musicians are of the highest orders and pleasure to hear. But the real joy is a rarity, an extended acoustic 12-string guitar solo by Holdsworth on the first track, 'Jools Toon'.

This ep will be of great interest to Holdworth fans in particular, filling a brief gap in his musical history. But fans of Thompson and Stevens will take great pleasure from this too.

Mixing BTW was by former Holdsworth pupil Jakko Jakszyk.

For prog fans 3 stars, for jazz fusion fans 4+ stars.

Velvet Darkness is certainly a flawed album, in it's recording quality, its production value (and its length). It is one of my very favorite Holdsworth recordings, though, because of two things: its heavy rock sound and the enchanting acoustic guitar pieces.

I am generally a great fan of good production. In this case, however, I love the rawness of the early Zeppelinesque rock sound combined with Allan's artistic brilliance on a more standard sounding guitar.

The three acoustic pieces, while short, are the highlight of the album. His unique use of harmony and improvisation transforms the everyday sound of the guitar into something very special.

If you are a big fan of Allan's strive for precision and magnificent sound, this may music may not be for you. Otherwise, it is well worth a listen and I feel very fortunate to have attained a copy. (Sorry, Allan, it is very good.)