ALLAN HOLDSWORTH
Jazz Rock/Fusion • United Kingdom
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August 6, 1946 (Bradford, West Yorkshire, UK) - April 16, 2017 (Vista, California, USA)
Allan HOLDSWORTH 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, NUCLEUS, 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 play...read more
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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)
3.09 | 58 ratings
Velvet Darkness 1976 |
3.63 | 26 ratings
Allan Holdsworth & Gordon Beck: The Things You See 1980 |
2.50 | 2 ratings
Gordon Beck / Alan Holdsworth / Jeff Clyne / John Stevens - Conversation Piece 1980 |
4.05 | 130 ratings
I.O.U. 1982 |
4.05 | 192 ratings
Metal Fatigue 1985 |
3.16 | 71 ratings
Atavachron 1986 |
3.37 | 76 ratings
Sand 1987 |
3.30 | 19 ratings
Allan Holdsworth & Gordon Beck: With A Heart In My Song 1988 |
3.76 | 73 ratings
Secrets 1989 |
3.41 | 50 ratings
Wardenclyffe Tower 1992 |
3.82 | 54 ratings
Hard Hat Area 1993 |
3.95 | 56 ratings
None Too Soon 1996 |
3.88 | 8 ratings
Anders Johansson, Jens Johansson & Allan Holdsworth - Heavy Machinery 1996 |
3.74 | 59 ratings
The Sixteen Men Of Tain 1999 |
2.82 | 30 ratings
Flat Tire 2001 |
ALLAN HOLDSWORTH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
3.57 | 18 ratings
I.O.U. Live (1985) 1997 |
4.15 | 34 ratings
All Night Wrong 2002 |
4.05 | 26 ratings
Live - Then! 2003 |
3.64 | 19 ratings
Blues For Tony (with Alan Pasqua/Jimmy Haslip/Chad Wackerman) 2009 |
3.75 | 4 ratings
Warsaw Summer Jazz Days '98 2019 |
3.97 | 5 ratings
Leverkusen 2010 2021 |
ALLAN HOLDSWORTH Videos (DVD, Blu-ray, VHS etc)
ALLAN HOLDSWORTH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)
0.00 | 0 ratings
Best Works Collection 1992 |
4.38 | 13 ratings
Against The Clock: The Best Of Allan Holdsworth 2005 |
4.96 | 6 ratings
The Man Who Changed Guitar Forever! 2017 |
4.75 | 4 ratings
Eidolon (The Allan Holdsworth Collection) 2017 |
ALLAN HOLDSWORTH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)
3.78 | 84 ratings
Road Games 1983 |
3.00 | 1 ratings
Non Brewed Condiment 1986 |
3.18 | 9 ratings
Propensity 2009 |
ALLAN HOLDSWORTH Reviews
Showing last 10 reviews only
Allan Holdsworth Jazz Rock/Fusion
Review by
BrufordFreak
Collaborator Honorary Collaborator
1. "Non Brewed Condiment" (3:39) Allan's first SynthAxe presentation leaves us all wondering which is guitar and which is synthesizer? Mind-blowing yet only an okay song. (One that does not stand up too well to the tests of time.) (8.667/10)
2. "Funnels" (6:10) same response and verdict as the previous song. Chad Wackerman's drumming tries too hard and Jimmy Johnson's normally-enjoyable bass play just feel as if they're in different universes--from both Allan and each other. (8.33/10)
3. "The Dominant Plague" (5:41) ridiculous chord play from the ridiculous sounding SynthAxe. How can Jimmy and Chad be expected to play over this stuff? The "old" 'Allan makes an appearance for a nice solo in the fourth minute. (8.25/10)
4. "Atavachron" (4:45) Allan's SynthAxe chord sequence at least establishes a nice melody with its pleasant (non- grating) sound. Gary Husband's drums and Jimmy Johnson's bass fit a little better with this kind of straightforward, one-directional music. Another more tuned-percussive sound is MIDI-ed through Allan's Axe in the second round. Some old Allan soloing in the fourth minute (something we can grasp and sink our teeth into). Still, not a great or very engaging song. (8.5/10)
5. "Looking Glass" (4:31) Tony Williams! If that doesn't give one high expectations I don't know what does! And true to the hype, Allan gives Tony front and center for the first 90 seconds while he and the band carefully support from the wings. Then "old Allan" takes a turn in front, delivering a stunning solo while Tony continues to deliver his magic from beneath. Jimmy Johnsons and Billy Childs are just lucky to be in the same room. Easily the best, most accessible and impressive song on the album. Great chord play throughout. (9/10)
6. "Mr. Berwell" (6:21) thunder greets the listener before sensitive solo SynthAxe (sounding like Pat Metheny's guitar chorus effect ramped up and fast-vibrato-echoed to the max). The full-band support team enters at 1:28 in a BRUFORD/DAVE STEWART kind of way before "old Allan" begins soloing over the top. I think an overdub of Allan's Axe is beneath, creating the chordal base, as the tempo changes from fast to slow (though Gary Husband's frenetic drumming would bely another reality), back and forth a couple times before another section starts out. I'm not sure whether the support chords are Allan's SynthAxe and the "keyboard" solo over the top Alan Pasqua's electric piano or vice versa (or all Allan)--such is the confusion created by the MIDI effect. (I remember playing an awesome piano-and- trumpet dual solo with a MIDI-ed saxophone syphoned through my brother's Mac in 1991. Listening to the tape of it you'd never know it was a saxophone that created the sounds.) (8/10)
7. "All Our Yesterdays" (5:25) vocalist Rowanne Marks sound so much like Gayle Moran! At 2:25 tuned percussion (MIDI-synth drums?) and SynthAxe begin to trade punches, but, wait! Which is which? Interesting but not so much as a pleasant listening experience; more as an experimental exercise. Then to return to the atmospheric, almost operatic motif of the opening to let Rowanne sing to the song's finish. What a Jeckyll and Hyde experience! (8.75/10)
Total time 36:32
The musics generated by Allan through his new toy are just far too foreign for our ears to take in and process--even now, 38 years on. Saved by the individual performances of Tony Williams, Rowanne Marks, and "old Allan" Holdsworth.
B-/3.5 stars; interesting from an historical perspective but hardly the type of music I would recommend to any prog loving music collector. Half the time I'm not even sure it's music!
Allan Holdsworth Jazz Rock/Fusion
Review by MaxnEmmy
Allan Holdsworth Jazz Rock/Fusion
Review by
DangHeck
Prog Reviewer
Chad Wackerman, of whom I'm really very fond, seemed to have been on a whole other level on this date. In particular, the performances of "Fred" and of "The Things You See..." seem to have some new life to them, the former a true classic in Fusion, I would think. And I can't say I'm familiar with nor know of another date off the top of my head in which Ernest Tibbs joined Holdsworth, but, boy, is he a welcomed component. Great soloing and accompaniment; very welcomed indeed.
Other highlights are unsurprisingly the two other definite classics: a lengthy rendition of "Letters Of Marque" and, immediately following, the exemplary "Proto-Cosmos".
Ultimately, a lot of this is on par with the lot of Allan's other live material. It's always so well performed, he always has the best of the best alongside him, and his compositions are always (more than) satisfactory. Aside from Chad's performance, it's hard to claim what exactly there is that really sets it apart, but I am just delighted to have another release of this great man's work. I miss him often.
Allan Holdsworth Jazz Rock/Fusion
Review by JazzFusionGuy
And having said that, the specifics include very fine trumpet by Walt Fowler guesting on tracks 1 and 5, with Chad Wackerman guest drumming on track 6. Holdsworth is expertly accompanied on acoustic bass by Dave Carpenter and Gary Novak on drums. Allan Holdsworth does confidently relaxed and flowingly inspired guitar and Synthaxe, as usual.
As stated above, you will not find Holdsworth wildly rockin' out, doing bizarre explosions of guitar nor Synthaxe, (though he is more than capable), on this release. Production and sound is slick and polished throughout. Compositions will find the listener being massaged into bliss or swept along in a swift flow. A jazz guitar reviewer associate, upon hearing this release, just said something like, "Wow!" I wasn't surprised at all.I have been listening to Allan Holdsworth since his decages-ago, work with Soft Machine and Tony Williams' Lifetime. Holdsworth only keeps getting better with time. All but one of the eight songs herein are by Holdsworth. He and Novak co-wrote "The Drums Were Yellow", a tribute in memory of Tony Williams. Chad Wackerman wrote "Downside Up".
For jazz guitar excellence and Synthaxe/guitar synth mastery none can match Holdsworth in voicings, phrasings, various techniques nor song composition. He is unique in a world of guitar all his own. He has created his own niche. His signature style will echo through many generations. Highest recommendations and deepest of respect for this exceptional artist.
Allan Holdsworth Jazz Rock/Fusion
Review by JazzFusionGuy
Holdsworth addicts have waited a very long time for this to appear on CD format. So go for it. I was glad to see it happen but I bet many out there already had this on vinyl-to-CD-R copies at home. I did. Time to get the real deal folks. It sounds great all over again. Original album cover graphics and notes are included.
Allan Holdsworth Jazz Rock/Fusion
Review by JazzFusionGuy
For the guitarist, Allan Holdsworth, it was yet a whole new way to achieve the sounds unvoiced in his soul and in ways he just couldn't do with a standard guitar. Holdsworth has always sought for a horn-like voicing with that 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. And now the review . . .
SynthAxe, SynthAxe, SynthAxe, and some more SynthAxe -- so imagine Holdsworth's Sand, Atavachron (w/no guitar but all parts SynthAxe'd), yeah, that Holdsworth Enigma label era, yet . . . a very melancholy, introspective, uhh, inner-struggles-angst-new-agey- synthjazz-with-that-Holdsworth-flair. Will jazz fusion folks get into this? Read on.
I have listened to this SynthAxe showcase at least 5-7 times now. Some cuts are absolutely beautiful in their pristine simplicity and chordal-synth progression "intros" and "scene-settings", visualmusicks I should say. Yet after such moments of synthy, dreamy bliss the mood then "weirds out" towards fusion with typical Holdsworthian solo-abandon frenzy, get the picture? I venture to say that this release will take most Holdsworth fans many listens to "sink in". If you are a devoted guitarhead -- I doubt you will get off too much, oh well. You may just walk from this FLATTire. If you dig synths in jazz, SynthAxe gymnastics, and can appreciate a very unique musician's singular vision then by all means have a FLATTire. See the tunes echoing in the unseen life-movie in Holdsworth's head . . . birthed during a very difficult period in his life . . . as the liner notes detail. Synthesizer-driven, visual music adherents, adventurous jazz fusion fans, admirers of all things Holdsworth, and SynthAxe players are urged to add this to their collection. Holdsworth is the SynthAxe man. It's a very uniquely rewarding listening experience.
Allan Holdsworth Jazz Rock/Fusion
Review by JazzFusionGuy
I am very thankful folks like Chris Hoard doggedly persisted in getting the perfectionist AH to finally let this THEN! be released. It amazes that just because something like the guitar voicing might not perfectly suit AH, something as superb as THEN! might not have ever been released.
AH, please listen up man! You are too darn good technique, performance, and composition-wise to keep gems like this from your fans just because you may not be 100% happy with a voicing technicality. Heck, AH, you could play on a used Fender Squire Tex-Mex Tele through a Montgomery Ward's Airline Amp and a Radio Shack cord and you would tear it up. We love ya man!! Let more of these "hidden away" "not-so-perfect" archival releases come to light. My picky & jaded reviewer ears say you did a superb job in final edits, mastering, etc, etc and THEN! is superb!!!! You are the fusion man AH! Also, of course the rest of the band was awesome, awesome, awesome. I really enjoyed hearing Steve Hunt use AH's SynthAxe patches via the keys -- very nice effect! Johnson and Husband equal bliss beats in perfection and grace.
Chris Hoard and Derek Wilson, thanks again for offering us this! I know this took years of work to nudge AH into seeing it as a worthwhile release. Do tell, Allan -- this sucker kicks! Do it again! Recommended!
Allan Holdsworth Jazz Rock/Fusion
Review by JazzFusionGuy
Allan Holdsworth Jazz Rock/Fusion
Review by JazzFusionGuy
It was refreshing to hear Holdsworth get funked up and get in a rockin' groove thang for a change on many cuts. His guitar tone seemed bigger -- perhaps augmented in places with some background triggered synth-echo delays and textures. Jens Johansson was outstanding in his mosaic of keyboard styles and voicings. He nearly duplicates that signature Holdsworthian lead phrasing. An expertly interwoven synthesis of sound and rhythm is present. Great jazz-rock fusion happens here.
An intensity propels this musical meeting. Drummer Anders Johansson and Jens Johansson have roots that dig deep: playing with axe-shredder Yngwie Malmsteen's Rising Force, Ronnie James' Dio, and a host of other metal ventures. Latter-day Mahavishnu Orchestra bassist Jonas Hellborg has collaborated with the Johansson brothers as well. Simply put, herein lies vast versatility. Invite guitar genius and innovator Allan Holdsworth over to jam and you spark unforgettable fireworks of furious fusion. Holdsworth fans, this is a must. Rockers and jazz-rock fusionists alike will delight in this recording.
Allan Holdsworth Jazz Rock/Fusion
Review by JazzFusionGuy