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ALLAN HOLDSWORTH

Jazz Rock/Fusion • United Kingdom


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Allan Holdsworth biography
Allan HOLDSWORTH, Yorkshire-born like John McLAUGHLIN, now resides in Southern California. He is one of the most revered, often imitated and enigmatic electric guitarists in modern rock/jazz history. In addition he is an avid fan of the guitar synthesiser. On rare occasions you will also find him on record playing violin and acoustic guitar (both 12 and 6 string) - the challenge is to find him singing lead! He is also a keen cyclist and brewer.

With a professional career starting in the late 60's, Allan's early bandwork and recordings included stints with 'IGGINBOTTOM, IAN CARR, TEMPEST, SOFT MACHINE, GONG (both a band member and later as guest - a revamped version the jazz rock GONG was formed in the USA in the 90's with the name GONGZILLA: HOLDSWORTH appeared on their first album "Suffer"), U.K. and BRUFORD in the UK, as well as jazz rock fusion favourites, the NEW TONY WILLIAMS LIFETIME and Jean-Luc PONTY in the USA. Whilst in the States, HOLDSWORTH recorded his first solo album "Velvet Darkness" at CTI's studios, which with outtakes took less than 26 hours to make. The album has been long disowned by HOLDSWORTH as being really a 'demo' not fit for release: even on the remastered CD, the recording quality is relatively poor (most unusual for an album issuing from the acclaimed CTI label), although some of the music/tunes are excellent (and in deed, of note is Alphonso JOHNSON's session playing, which is amongst the best basswork he has done). Through the 70's Allan's developed a smooth legato (fluid) style (in parallel to guitar effects appearing on the marketplace), lightning speed runs, and often combined with playing solos which were tangential to the main theme of tunes. This unique combinations of innovative skills attracted the attention of both rock and young jazz music lovers, and found Allan being sought as a lead guitarist by other bands. nevertheless, because of the originally of his style - effectively a guitarist who wants to play solos like a saxophonist - there has always been significant confusion as to whether he is a rock player or a jazz player? To add to the enigma of HOLDSWORTH, it is most unusual to hear him play with other guitarists on record. The exception: the live duo work with the legendary OLLIE HASSALL on TEMPEST's "Under The Blossom: The Anthology" - in comparison say with the "Truth In Shredding" album, when HOLDSWORTH recorded his parts separately in time and distance from FRANK GAMBALE.

From about 1978 t...
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Against The Clock: The Best Of Allan HoldsworthAgainst The Clock: The Best Of Allan Holdsworth
Remastered
Alternity Records 2005
Audio CD$17.99
$9.98 (used)
I.O.U.I.O.U.
Allan Holdsworth 2011
Audio CD$15.99
$14.45 (used)
Velvet DarknessVelvet Darkness
Extra tracks
Sony 1990
Audio CD$196.85
$17.97 (used)
Blues for TonyBlues for Tony
Moonjune Records 2010
Audio CD$12.74
$13.99 (used)
SecretsSecrets
Import
Imports 2007
Audio CD$15.73
$9.97 (used)
Metal FatigueMetal Fatigue
Import
Imports 2007
Audio CD$23.64
$17.99 (used)
All Night WrongAll Night Wrong
Favored Nations 2003
Audio CD$6.91
$5.57 (used)
Right Now on Ebay (logo)
ALLAN HOLDSWORTH-SIXTEEN MEN OF TAIN-JAPAN MINI LP CD Gi50 US $38.50 Buy It Now 4h 22m
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ALLAN HOLDSWORTH shows & tickets


  • Allan Holdsworth at Billboard Live Tokyo, ?? on 29 Sep 2014

ALLAN HOLDSWORTH discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ALLAN HOLDSWORTH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.01 | 20 ratings
Velvet Darkness
1976
3.59 | 6 ratings
The Things You See (with Gordon Beck)
1980
4.08 | 51 ratings
I.O.U.
1982
3.68 | 30 ratings
Road Games
1983
4.11 | 92 ratings
Metal Fatigue
1985
2.94 | 25 ratings
Atavachron
1986
3.28 | 25 ratings
Sand
1987
3.27 | 5 ratings
With A Heart In My Song (With Gordon Beck)
1988
3.60 | 29 ratings
Secrets
1989
3.13 | 10 ratings
Wardenclyffe Tower
1992
3.80 | 18 ratings
Hard Hat Area
1994
4.11 | 16 ratings
None Too Soon
1996
3.81 | 18 ratings
The Sixteen Men Of Tain
1999
2.70 | 7 ratings
Flat Tire
2001
3.14 | 3 ratings
Propensity
2009

ALLAN HOLDSWORTH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.49 | 8 ratings
I.O.U. Live (1985)
1997
4.13 | 24 ratings
All Night Wrong
2002
4.04 | 8 ratings
Live - Then!
2003
3.34 | 7 ratings
Blues For Tony (with Alan Pasqua/Jimmy Haslip/Chad Wackerman)
2009

ALLAN HOLDSWORTH Videos (DVD, Blu-ray, VHS etc)

ALLAN HOLDSWORTH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.38 | 4 ratings
Against The Clock: The Best Of Allan Holdsworth
2005

ALLAN HOLDSWORTH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

ALLAN HOLDSWORTH Reviews


Showing last 10 reviews only
 Flat Tire by HOLDSWORTH, ALLAN album cover Studio Album, 2001
2.70 | 7 ratings

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Flat Tire
Allan Holdsworth Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Team

3 stars After suffering a difficult divorce, Allan had sold most of his gear and had no access to a studio. In addition, the house he was now renting wasn't suitable for recording live guitar or drums, so he decided to take the opportunity to make a record using only the SynthAxe. Of course, he had also sold most of his synthesisers so only had access to certain sounds. The subtitle of this album is 'Music for a non-existent movie', as Allan decided to record music that would fit the scenes that he could imagine in his head. The result is something that is certainly unusual, although it would take a braver man than me to say that it was 100% successful. The problem in many ways is due to the instrumentation being deployed, as it comes across as a synth album yet without the depth that one would normally expect. It is a very stripped sound, yet this approach clashes with the sounds being heard so it doesn't really work as a synth album, nor as a guitar album (which in fairness it isn't ' although it was recorded by Allan playing a guitar- type instrument, if that makes any sense). Most of the reviews I have read come to the same conclusion as me, in that Allan is one of the most incredible and versatile musicians you will ever come across, but that this is most definitely not the place to start. It's great that MoonJune have made it available again, especially with Barry Cleveland's insightful (as always) comments, but this is an album that I played repeatedly as I felt I needed to so that I could write a fair review as opposed to playing it because I loved it. For more details visit www.moonjune.com

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 Secrets by HOLDSWORTH, ALLAN album cover Studio Album, 1989
3.60 | 29 ratings

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Secrets
Allan Holdsworth Jazz Rock/Fusion

Review by b_olariu
Prog Reviewer

3 stars Secrets released in 1989 is one of Holdsworth good albums, but somehow fail to impress me big time like Metal fatigue. Some good pieces here, who offers his tradmark on guitar like the opener City nights, Joshus or Peril Premonition are fairly ok jazz fusion pieces with solid musicianship, the rest even are ok are nothing really excellent. The line up is solid as always on any Holdsworth albums with Colaiuta on drums, Jimmy Johnson on bass and Steve Hunt on Keyboards amonh others. I like his style in every band he was involved, from UK, Gong, Bruford or Soft Machine little more then his solo offers. 3 stars, nothing more nothing less.

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 Blues For Tony (with Alan Pasqua/Jimmy Haslip/Chad Wackerman) by HOLDSWORTH, ALLAN album cover Live, 2009
3.34 | 7 ratings

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Blues For Tony (with Alan Pasqua/Jimmy Haslip/Chad Wackerman)
Allan Holdsworth Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Team

4 stars The Tony Williams Lifetime was founded in 1969 by drummer Tony Williams as a power trio with John McLaughlin on electric guitar, and Larry Young (aka Khalid Yasin) on organ. Their debut album 'Emergency!' is a classic and everyone interested in jazz or fusion should have a copy in their collection. The line-up changed over time (Jack Bruce was there for the second album) and in 1975 Tony formed a quartet he called The New Tony Williams Lifetime featuring bassist Tony Newton, pianist Alan Pasqua, and guitarist Allan Holdsworth. Some thirty odd years later Allan and Alan decided that the time was right to go on tour with a band to pay homage to those days, and recruited drummer Chad Wackerman (Zappa, Holdsworth) and bassist Jimmy Haslip (Yellowjackets) for the occasion.

This double CD set brings together the best versions from the whole tour, edited together so that the listener has a complete evening's entertainment with no overdubs whatsoever (the DVD that is available is just from one night). The concept may have started as a tribute, but by the time that these songs were recorded it was morphing into a fusion band with a life of its' own. This is jazz combined with prog as the guys bounce off each other and the note density and complexity of what is being performed is quite staggering. Allan has a fluidity that is rarely matched ? just listen to the runs in "It Must Be Jazz" to see what I mean, but Alan does his best with some incredible electric piano/organ. The photo on the rear cover shows four guys with scores in front of them with simple lighting and no fancy gimmicks at all. This is all about the music, and the music is stunning. If you want music to be complex, played by guys at the very top of their game, then this is something to be savoured. www.moonjune.com

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 None Too Soon by HOLDSWORTH, ALLAN album cover Studio Album, 1996
4.11 | 16 ratings

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None Too Soon
Allan Holdsworth Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Team

4 stars Prior to the recording of 'Hard Hat Area' Allan had been working with pianist Gordon Beck, and together with bassist Gary Willis and drummer Kirk Covington they had recorded a version of "Michelle" for a tribute album. After 'Hard Hat Area', Gordon was again with Allan and he suggested that they do something quite different ? namely record an album of interpretations of jazz standards by the likes of John Coltrane, Django Reinhardt etc. Allan was taken by the idea, and Gordon suggested which songs they should undertake and they were mostly unfamiliar to Allan who became an avid pupil. They brought back the same rhythm section, and Allan provided all of the guitar and synthesizer sounds on the SynthAxe. The basic tracks were recorded as a group, with the guitar overdubbed afterwards, but to these ears it sounds as if everyone was cooking in the studio at the same time.

This is a jazz album with no room to hide and all four musicians are obviously on the very top of their game, bouncing the ideas and melodies. Gary and Kirk obviously have a great understanding between each other and provide an extremely complex bedrock while Gordon's impact on this recording is immense. Gordon was house pianist at Ronnie Scott's and his knowledge of the genre was extremely wide and varied and it is no surprise that there are times when Allan defers such as on Joe Henderson's "Isotope" where Gordon leads the way (followed by some stunning bass it has to be said).

While the vast majority of songs are indeed jazz standards, one that isn't is "Norwegian Wood" which is given a very different arrangement and again Gordon has a huge impact on this, whether it is providing a melodic lead or simply repeating a chord sequence that allows Allan to spread his wings. I doubt if Lennon and McCartney ever imagined that the song could be treated in this way, but it has taken what is for me one of their lesser numbers and has moved it into a totally new direction. It is interesting to note that Gordon had originally recorded the song himself back in 1968 on his 'Experiments with Pops' album, but Allan provides a fluidity and note density that makes this his own.

All in all a very different album from the one that proceeded it, yet I would be hard pressed to pick between the two as they are both stunning pieces of work. This has been reissued by MoonJune in a digipak, the recordings have been remastered, and there are great sleevenotes from Barry Cleveland. www.moonjune.com

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 Hard Hat Area  by HOLDSWORTH, ALLAN album cover Studio Album, 1994
3.80 | 18 ratings

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Hard Hat Area
Allan Holdsworth Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Team

4 stars Here we have Allan's 1993 album 'Hard Hat Area' lovingly reissued by MoonJune who remastered it, placed it in a digipak, and provided some wonderful sleevenotes by Barry Cleveland who puts everything into context. Allan has long been one of my favourite guitarists, and like John McLaughlin I can happily listen to him all day long, and when the guitar lines are as fluid as this that is especially true. Unlike many of Allan's solo albums this has very much a band feel about it and it is no surprise to discover that much of this was recorded by the guys playing together in the studio. Long-time collaborators Gary Husband (drums) and Steve Hunt (keys) were joined on bass by Skuli Sverrisson when Jimmy Johnson was unavailable due to touring commitments with James Taylor.

As well as regular guitar Allan also provides some SynthAxe and baritone guitar, not as much as on some of his other albums, but still enough to provide additional facets to the sound. There are times when Allan just lets the others fill the spaces and he sits back nary playing a note, allowing them the freedom to demonstrate their musicianship and feel, then he comes back in and provides some blistering runs that are breathtaking in their audacity. This is fusion in its' truest form as he mixes and melds jazz with prog, letting the music take him and us on an incredible journey. The title cut in itself is a masterclass demonstration of how a guitarist can be centre stage while allowing complex fills and lines from the rest of the band to complete the soundscape. Skuli's fretless bass is wonderfully expressive and warm, providing a contrast to the cleaner and more clinical guitar.

If you ever wondered what fusion can sound like in the hands of an expert, then look no further as this is sheer class. www.moonjune.com

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 Hard Hat Area  by HOLDSWORTH, ALLAN album cover Studio Album, 1994
3.80 | 18 ratings

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Hard Hat Area
Allan Holdsworth Jazz Rock/Fusion

Review by Ivan_Melgar_M
Special Collaborator Symphonic Prog Specialist

4 stars I wasn't a Jazz man until Leonardo Pavkovic from Moonjune Records started sending me albums from his label, after listening such musicians as TOHPATI, SLIVOVITZ and SIMAK DIALOG, began to get the taste for their music, since then, every time I receive a package is like an adventure, this week Santa (The mailman) came and started to check the albums as a kid on Christmas morning not knowing with which toy play first, so after some minutes enjoying the art covers, decided to start with ALLAN HOLDSWORTH's Hard Hat Area, and wasn't disappointed at all.

The album begins with Prelude and the mystical sound of Alan's guitar enhanced by Steve Hunt and his atmospheric keyboards as relaxing the listener for all the frenzy about to start with the fantastic Ruhkuhkah, a joint effort of all the band that reminds me a bit of MAHAVISHNU ORCHESTRA, simply mind blowing, please pay special attention to the solid drumming of Gary Husband and the impressive bass by Skuli Sverrisson, it's an amazing display of sounds and different flavors.

Low Levels, High Stakes is a nice change, after the frenetic and vibrant Ruhkuhkah, it's the turn for a smooth and reposeful track. Leaded by Hunt's piano, Allan is allowed to explore all the possibilities that his skill with the acoustic guitar concedes, always supported by a consistent rhythm section. I believe that the secret of a great album is the balance and Holdsworth proves this. Nine minutes of great music.

Hard Hat Area is clearly divided in two parts, the first one percussive and the second one melodic with some classical influences and an outstanding guitar solo by Allan who demonstrates his abilities.

Tullio is more melodic with again a breathtaking guitar section enhanced by the keys and rhythm section. It's interesting to notice that the track flows gently from start to end despite the sudden sonic explosions and complex solos. But it's more interesting to notice how well it connects with the mellow and incredibly beautiful House Of Mirrors, where even the solos are an expression of aesthetics rather than a vacuous display of abilities, simply delightful.

Hard Hat Area is brilliantly closed by the elaborate Postlude , the perfect combination of virtuosity and elegance, a grand finale for an excellent album that deserves no less than 4 solid stars

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 Atavachron by HOLDSWORTH, ALLAN album cover Studio Album, 1986
2.94 | 25 ratings

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Atavachron
Allan Holdsworth Jazz Rock/Fusion

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

4 stars I don't understand the hate, or at least disdain directed at this album. Is it the incredible nerdiness of the cover, which has a painting depicting Allan Holdsworth in a Star Trek-like uniform, holding his new toy, a Synthaxe MIDI controller? It can't be the music, which is similar in structure to most of Holdsworth's releases, and as usually, expertly performed.

I'll admit, I have to be in the right mood to listen to a Holdsworth album. His compositional style, which consists of chords that sometimes sound strung together in random fashion, is demanding for the listener, and if you are not in the correct frame of mind, often tedious.

Nonetheless, if you have the energy to follow the songs, it can be quite rewarding. Holdsworth's songs take you where no other guitarist goes, and his fluid soloing over difficult to master chord progressions is just amazing.

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 Velvet Darkness  by HOLDSWORTH, ALLAN album cover Studio Album, 1976
3.01 | 20 ratings

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Velvet Darkness
Allan Holdsworth Jazz Rock/Fusion

Review by Slartibartfast
Prog Reviewer

4 stars So Allan disowns this album as I've heard.

Still it's one of my favorite Allan Holdsworth albums. If you like what he was doing in other bands during the '70's: Gong, Soft Machine, UK, Bruford, there are some excellent pieces even if this was just a rehearsal set.

I suspect he's just cheesed off at how the deal went down rather than the quality of the music, because this doesn't sound like a rehearsal. I actually enjoy this music more than some of later self titled albums. He's more of an electric guitar performer but his solo acoustic pieces on here show a side of Holdsworth that you don't get in his other endeavors. I can hear some rough edges in the material.

This lies in the twilight zone between bootleg and polished album.

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 Metal Fatigue by HOLDSWORTH, ALLAN album cover Studio Album, 1985
4.11 | 92 ratings

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Metal Fatigue
Allan Holdsworth Jazz Rock/Fusion

Review by colorofmoney91
Prog Reviewer

5 stars Metal Fatigue is an album that contains the best guitar-based jazz-fusion that you'll ever hear. Allan Holdsworth has his own voice on the guitar, and he always lets it show up front.

As with a few other Holdsworth albums, this album contains occasional vocals, and they always drag the listening experience down a bit for me. However, the musicianship on this album redeems completely. Again, as with his other albums, Holdsworth's phrasing on the guitar is impeccable and far beyond what I've heard countless other jazz guitarists play, except maybe Joe Pass, but obviously Pass was acoustic and less experimental.

This album is the ultimate starter-point for beginning Allan Holdsworth fans. In addition to his unique and easily identifiable jazz tone, there are some rock moments here (Metal Fatigue, Panic Station, In the Mystery) but they are unimportant. What's important here is the improv and overall composition.

The ultimate stand out piece on this incredible album is the 14 minute "The Un-Merry-Go- Round". This track changes textures, moods, and styles throughout its duration. This is undoubtedly the most interesting and dark track on this album, but manages to stay dark while changing from happy to sad, from cold to hot. Notes often drone in and out of complete silence, only to be responded with a few bars of powerful drumming and fantastically executed bass. There is a fantastic drum solo on this track as well.

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 I.O.U. by HOLDSWORTH, ALLAN album cover Studio Album, 1982
4.08 | 51 ratings

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I.O.U.
Allan Holdsworth Jazz Rock/Fusion

Review by colorofmoney91
Prog Reviewer

4 stars Allan Holdsworth is an amazing guitarist, even though his name seems to be unfamiliar to many. Holdsworth's legato style is mostly unparalleled by any other guitarist, and he proves that every time he releases an album, and I.O.U. is one of his best.

First of all, this is a jazz-fusion album with vocals. Some of Holdsworth's albums do have vocals, and they're not really great vocals either. Most people I know prefer their jazz-fusion to be wordless. If you're one of those people, then it's okay, because the music here will make you forget about the vocals (they don't play a big part anyway). After hearing anything played by Holdsworth, you immediately gain the ability to spot his playing from a mile away, and that is because his style is so unique to himself. His lightning-fast single-note legato improvisations are basically what this album is all about, and it is great. I usually don't care for guitarists who noodle, like Steve Vai. But this is far better in that the noodling actually sounds very professional, and it sounds like a voice, and it is entirely melodic and memorable.

Another great thing about this album besides the legato solos is his chord phrasings. Everything played here is absolutely beautiful. Allan Holdsworth has always had a talent for phrasing his tunes beautifully, but it really shines on this album. Just listen to "Where is One", the second track on this album, and you'll understand completely. That track in particular stands out as one of the best on the album, in my opinion. The call-and-response effect is perfect, alternating between a call of beautifully phrased chords that fly smoothly with a response of harshly played staccato lower-register notes. Fantastic, and I'd expect nothing less from Mr. Holdsworth.

If you enjoy jazz-fusion at all, then this album is for you. I'd also suggest anything else by Allan Holdsworth as well. You really can't go wrong with his material.

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Thanks to ProgLucky/ Dick Heath (Oct 2009) for the artist addition.

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