Allan Holdsworth

Allan is good player, but this should not be released as a full price cd. 24 minutes is an ep (extended play single, for you pre-vinyl kids). Why not combine it with another release and give people their money's worth? Everyone knows how much Eddie Van Halen was influenced by AH, unfortunately it must have been in the area of album length as many VH albums clock in at under 30 minutes as well. Neither artist listed track times on their lps, now we know why. And the RIAA wonders why people download things!!

If you're browsing around looking for something new, or have heard of Holdsworth and are checking out his offerings, this is the album for you. It is, IMHO, the album which is probably the most accessible to the general listening public. Not that it's in any way cheesey or dumbed-down, mind you. I love this album.

After hearing AH play on Jean Luc Ponty's 'Enigmatic Oceans', I sought out his own stuff and found this first. At the time, I was mostly listening to blues-rock, and Frank Zappa was probably as 'out there' as I'd gotten. I was amazed, but not overwhelmed, by what I found here. Although it really defies categorization, overall, if you're a fusion fan or prog-rocker, you'll be right at home. Jack Bruce, best known as a member of 60's rock icon Cream, even sings some.

It's short, but very, very sweet. If you like it, try I.O.U. next, and from there, just dive in headfirst with any of his others. There's not a turkey in the bunch, with the exception of 'The Velvet Darkness', which Holdsworth can't stand himself. Oddly, I found this extremely rare album on vinyl at a used record store and bought it years ago, never having heard of it. Holdsworth fans who also have a closet full of beanie-babies and the full set of Franklin Mint commemorative plates might be interested in 'The Velvet Darkness', but no one else will.

"Road Games" is Allan's third solo album if you count "Velvet Darkness". This was originally released in 1983 but was not available on disc until 2001 through Gnarly Geezer Records. Don't know why it took so long, but I also don't understand why "I.O.U." has been out of print for years. On this outing, virtuoso's Jeff Berlin (bass) and Chad Wackerman (drums) enter the picture to spice things up.

Many guitarists try to imitate Allan's style and sound, but none have succeeded. He is completely original. Sure there are tons of guitarists that shred, but not many can write great tunes and play with the emotion and depth that fills this disc. It's hard to describe this style of music, is it rock, fusion, or just Allan? "Tokyo Dream" (one of my favorite Holdsworth tunes) is smooth as glass, "Road Games" has abundant energy, and "Water on the Brain - Pt. II" is a fusion monster. Paul Williams sings on "Road Games" and Jack Bruce sings on "Was There?" and "Material Real". All other songs are instrumental. You really can't go wrong with any Holdsworth disc but, for me, "I.O.U.", "Road Games" and "Metal Fatigue", in that order, are his best. Highly recommended for any music fan, but if you're a guitar player this is essential listening. Note, this disc is only 24 minutes long but not one second is filler.

Finally, if you have a chance to see him live don't hesitate. For those who can't, there is talk of an official live DVD release sometime this year. About time!

Every time I press play on the CD player I am overwhelmed with the anticipation of hearing what comes out of the speakers. Road Games is a classic album. If you are a musician, then you MUST own this CD. Do yourself and humanity a favor by playing it loudly. Also, IOU is a classic Allan Holdsworth album. You will smile when you hear it.

Staggering, beautiful playing. Nothing like it technically in guitar history, but much more important is the unique musical voice of Holdsworth. His chords and soloing produce a moving, strange and melancholic language which all his own.

Another reviewer said, "I just dont hear it guys, volume swells, lots of minor 9ths and sus chords. There is not alot going on here harmonicaly. I will listen some more but this is pretty wonder bread to me......."

Each to his own, but for what's worth, John McLaughlin, Pat Metheny, Gary Husband, Bill Bruford, and many others of that league see Holdsworth as being in the top handful of guitarists/composers around - I happen to agree.

Nothing but improvisation from start to finish. The songs are practically indistinguishable from each other and there are no melodies for the listener to cling to, just noodling around. I've listened to this album over and over and only song # 7 (Downside Up) has some melodic structure that stays in my mind after listening, but even that can wear out very quickly. Save your money and get two of Allan's finest works instead: Secrets and Wardenclyffe Tower.

Allan revisits some classics of his from a different perspective. Maybe I just need to give it more time. I'm just not used to it, yet. It's interesting hearing a stand-up bass on a Holdsworth album, but I guess I just want to hear Allan, Jimmy, and Chad over and over again.

AH defies category, he is firstly a musician of the highest caliber. The depth of his composition is astounding. He has always pushed himself to the highest level and has never been satisfied. That hunger has allowed us fortunate listeners to enjoy an artist at the top of his form, yet always inspired in his continuance of evolution. And so 16 Men of Tain achieves what it sets out to do. A return to the apex, AH is in top form on this release, his sidemen for this outing truly add value to the tracks as only top-flight musicianship can. I appreciate the trip concept and the lack of keyboards although evident, is something of a relief, now one can sit back and listen to Mr. Holdsworth tonal pallet in it's purest form.
What we the listening aficionados MUST do is get the word out to all of our friends and associates. Champion this artistic giant. Purchase his products. Write to venues and associations to support his efforts.

There was a period an Allan's career when his work was going unnoticed and the artist was in dire circumstances. Thanks to good patrons and friends he was able to rebuild his production base and continue on. It's so wonderful to see his work succeed, especially in a "biz" which caters to mass-market appeal and not the vast musical palette, which is really out there beyond the corporate understanding. That is where the art and the artist dwell and that is where Allan Holdsworth has made his musical abode. The 16 Men of Tain shows us both the art and the artistry of Allan Holdsworth. Enjoy!

I first heard Holdsworth in the mid-80's. After a few hours of listening to the tapes I had, my impression was he was technically very good, but too far out there for my taste.

I went to see Allan last night at a drum clinic in Milwaukee and was blown away. The best way I can describe the experience was that it was mind altering. Now in his 50's, he looked and sounded like the OB1-Kinobi of lead/improv. Cheers as well to his band mates Chad Wackerman on drums and Jimmy Johnson on bass, equally impressive.

Anyway, I picked up this CD at the clinic and listened to it last night while falling a sleep. It is amazing. If you are a guitar, jazz, experimental, or true music fan, you need to try this CD. It is still way out there, but from the reviews I read here, it looks like this CD is as normal as he gets.

How could I be the last one in the world to find out about Allan Holdsworth? What a phenomenal guitarist! I took a chance on his live album "All Night Wrong" and was blown away. He's easily one of jazz fusion's best. An Englishman, Holdsworth first started with the group "Tempest" before drummer Tony Williams asked him to replace John McLaughlin in his Lifetime project. He appeared on two more of Williams' albums before joining French-English rockers "Gong". In the late seventies, Holdsworth began his solo career. "Sixteen Men of Tain" has such a simple, straightforward rockin sound with Walt Fowler making two guest appearances on trumpet. Holdsowrth's trademark synthaxe is even less apparent on this album. Why not buy this album (and "All Night Wrong") and give some love to one of jazz fusion's most underappreciated guitarists.

Allan Holdsworth is an extraordinary guitarist who plays extraordinarily boring music. The only composition on this compilation that make any sense
is "How deep is the ocean".

I like the selection of tracks on this collection. However the sound quality is impaired compared to some of the originally released versions of these tracks. The mastering engineer used too much compression/limiting when assembling this collection. The sound lacks subtlety and texture as a result. (Try comparing the "Spokes" track with its original version on the Secrets CD)

Don't get me wrong - this is great music by a great musician. It's just that it could have been sonically better. Non audiophiles are unlikely to notice.

It's funny because on each Holdsworth album, there are certain songs that appeal to me more than others. Coincidentally, this CD is a compilation of those songs. If I were to make my own mix tape of favorite Holdsworth songs, this would be it. Simply, it's a great compilation.

You just might be able to get me to say that Allan Holdsworth is the best there is. Yesterday, today and probably tomorrow too. Yes, I know about Jimi and Stevie Ray, B.B. and Duane. I don't know, I've just never heard anything quite like Allan. Why isn't he better known? It seems like it's just other guitarists who know him and they're frustrated because they try to reproduce the same sounds and can't. I'm sure being regarded as a "jazz fusion" player doesn't help either. Maybe if we called it "instrumental rock", it would draw a bigger crowd? Probably not. Allan may be doomed to be revered by other musicians and guitarheads like me while the rest of the world gets it's fill of the teenaged sensation of the week or the flavor of the month rap star. Record comapnies really don't have a clue as to why sales are down, do they? Could it be the crap they try to force down the throat of the general public?

I suppose the secret's now finally out: Holdsworth is really one of the top guitarists in the world, ever. Anyone with an interest in guitar who Rock legends like EVH, Satriani and Malmsteen have openly admitted that in terms of technique they can't compete. But that doesn't really matter. Holdsworth is distinguished by his beautiful music. He has a voice all of his own.

So: if you are a young guitarist hooked on serious technique and you haven't heard Holdsworth - I envy you. I first played Metal Fatigue at the age of 17 and it was one hell of a shock; it made me look at the guitar differently, and for me also it took the wind out of the sails of almost all guitarists known for their technique.

But as I say the main deal is that Holdsworth is a unique musical communicator; the complexity of his harmonies and melodies is closer to modern classical or complex jazz than rock or most fusion.

Bottom line is, 20 years after first hearing this genius, I am still growing in appreciation of his staggering talents.

There is little more exciting than listening to a musician who knows where he is going, knows his chord progressions, and is comfortable from there to embark on fluid but disciplined lead breaks; even better when the band keeps up...... Jimmy Johnson on bass and Chad Wackerman ride shotgun on this 2002-released live ride. Allan Holdsworth possesses a solid armoury of guitar technique, and has tastefully garnished it over the years with experimental use of synthaxe and pedal to achieve some blissfully complex licks as well as superbly stretched ambient jazz fusion moments. Small wonder that he is held in such regard by both rock and jazz guitarists alike. The material holds up well under the onslaught.

When the live recording is open and dynamic, the excitement increases. Live recordings have been problematical in earlier times, but this one captures the sweat and tears very well.

AH is many things: A cult icon; An innovator par excellence; A FREAKISHLY talented guitarist! But what endears him to me above all else is most evident on this long awaited live album. His music is just heart-rendingly beautiful.

Yes, he's a shred-master, but that's hardly the point. He can play so fast that individual notes are barely distinguishable, and to the uninitiated this can make his solos seem frantic. The trick is to hear this 'note density' in the same way as one would experience a high resolution digital photo. You don't grouse because the pixels are too small to identify individually, you revel in the clarity of the image.

To continue the analogy, the 'soundscapes' Holdsworth paints on this album are gorgeous beyond words, once you find the proper perspective. It's well worth the effort.

A very amazing performance, but as often happens with Holdsworth's records, the sound is not very warm, rather cold and compressed. If Holdsworth's records were mixed/mastered differently with much warmer and fuller fat sound, all his EXCEPTIONAL music will become even more EXCEPTIONAL.

I should say at the outset, I am a big fan of Holdsworth's '70's work. With a little maturity I've realized that artists often need to exercise restraint. Holdsworth is now "free" to do what he wishes and the music suffers. This is technically flawless, but I hear no music. I recommend his work with Gong and Bruford. Those albums contain good "songs". I also feel compelled to remark on another review. Steve Morse often employs pinch harmonics, I don't know if that what was meant by false. Morse hardly uses any effects. Holdsworth is drowning in effects. Neither is good or bad, just noting the difference. The other reviewer stated otherwise. Joe Satriani hardly ever taps, so that's not where his speed comes from and may use power chords here and there in the background to his songs but that's about it. Back on track, skip this album.

I have always read about the guitar exploits of Allan Holdsworth but I had never heard him play, so I asked for a Holdsworth CD for Christmas.
I have listened to this CD in it's entirety on three occasions over the past two weeks and I have to say that I was not impressed. This is a live album and Holdsworth, although technically proficient on the guitar, is extremely boring here. I was expecting lightning fast jazz licks, but instead he sounds like he is playing an electric keyboard instead of a guitar. I would say that this CD is for extreme jazz fans only.

Import CD - $24.95

Shipping - $4.95

Guitar solo
on Joshua? - Priceless!

Stand out track: Spokes

If you like guitar, than get this album!

With the opening track, "City Nights", Allan Holdsworth demonstrates his breathtaking command of the electric guitar: the scintillating staccato runs, the explosive energy-level, the urbane jazz sensibility, it's all here. Which is what makes the rest of this album so disappointing. Only the bouncy "Spokes" and the amelodic "Peril Premonition" really succeed in showing off the master's abilities.

Holdsworth has often been criticized (and rightly so) for his compositional skills, which tend to lag behind his prowess as a soloist. Compare the material on this album with Jean-Luc Ponty's "Enigmatic Ocean" (featuring some of Holdsworth's most memorable performances), and see what a difference it makes when there's an actual melody for the listener to cling to. Perhaps what we're really seeing here is an artist looking for a new direction. Given the soporific nature of entries like "Endomorph" and the seemingly endless "Maid Marion", one might suspect that Holdsworth is looking to embark on a new career in Adult Contemporary music, a field which this reviewer admits is too far beyond his understanding to evaluate properly. The occasional odd sound effects and the select appearances by a female vocalist don't come off so much like experiments as mistakes, and certainly won't win any new converts to this very gifted performer.

Instead of looking for new directions, perhaps Holdsworth would do well to look harder in the old ones. Face it, with his chops, he should be widely recognized as the greatest jazz guitarist of all time. If he's remained a cult figure by his own choice, we have to respect that, but if this reviewer might humbly offer a suggestion, it would surely be a good career move for Holdsworth to team up with someone who has stronger songwriting skills. One can't help but think that having Holdsworth soloing would make anyone's compositions sound better, but if they've got good material to start with, there's no telling how big a splash such an album might make.

When Allan releases an album he takes no prisoners. The opening 2 minute song City Lights is worth the price of the CD alone. Hold on tight! Man, those killer chord progressions! Allan is still the greatest fusion guitarist in my opinion. He has a style and tone like no other and all his compositions are unparalleled as far as depth and chord progressions. Its as though the tone of his guitar is like a human voice. Not to mention he is one the greatest soloist ever. Incredible bass work from Jimmy Johnson.

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.

This live recording from the Allan Holdsworth Group circa 1990 features intense playing and audiophile sound quality. Gary Husband (drums) and Jimmy Johnson (bass) sound especially good on this release, laying down deep and ferocious grooves throughout, most notably on "Proto Cosmos" and "Non-Brewed Condiment". The "Zones" are a real treat too; keep in mind that all three "Zones" are group improvs, not written pieces, then listen to how well each band member compliments what the others are doing. These guys have big ears! Quite marvelous, really.

I believe Mr. Holdsworth has had better nights on a few of the tunes, and I wish he'd put himself a little higher in the mix, but the fabulous rhythm section and superlative group interplay earn this baby five stars. Check it out.

This is the first live Holdsworth I've found containing "Non Brewed Condiment". It's the highlight of the CD AND he plays it on electric guitar instead of SynthAxe which is a treat! Sound production is solid. I would have given this 5 stars had it not been for the limited tracks and a couple of the selections would not have been my first choice. But a must for all Holdsworth heads.

Awsome! The man is simply the best of the best. Holdsworth, Husband, Johnson, and Hunt are a tight group here. The classisc are here White Line, Atavachron, Pud Wud, House Of Mirrors & Non-Brewed Condiment. I just wish this was a double disc with the other show on it with more of the classics. But Holdsworth live 1990 is better than nothing. Heck, it's about as good as it gets.

Well, this is a special cd. Released in 2004, the recording took place in May of 1990 in Japan. There's an unbelievably strong chemistry among the band members of this touring quartet, none of whom played together as a group on any of the studio albums from which the music for this concert was culled.

Gary Husband's drumming is phenomenal - interesting, jazzy, driving, and right up front in the recording mix. Jimmy Johnson's bass is like an additional guitar soloist on many of the songs, just all over the place. Keyboardist Steve Hunt helps to keep some rhythmic sanity in those moments when Husband is soloing and improvising, and he also provides the band a nice full sound with additional soloing - he even uses some synthaxe (or synthaxe sounds on the keyboard) to augment the fullness of the band and stay true to the original feel of some of the compositions.

Then there's Allan Holdsworth. He's at the top of his game here on this recording. If you're reading this review on a relatively obscure album of his, then you don't need me to tell you how great his sound and technique is. He just kills on this cd.

Song selections include Proto-Cosmos, White Line, Atavachron, Pud Wud, House of Mirrors, Non-Brewed Condiment and three improvised selections spread throughout the album called Zones (which all feature a baritone electric guitar). The playing and execution is tight and true, but different enough from the original studio versions to make this a very worthwhile purchase. (The "Zones" are O.K., not great. But they ARE new and unique! They're growing on me.)

Finally, rest assured that the recording and production quality is great. If you've seen other reviews by me, you know that's important to me. The original source tapes were "extremely high quality, digital 24-track" tapes (according to the liner notes), and Holdsworth himself was involved in the mixing and mastering of all tracks.

AH is one of my very favorite guitarists, from his playing with Tony Williams, Soft Machine, Gong, Ponty, Bruford and U.K., right on through to his own great solo stuff. Here, he inspires his whole band to shine on one great piece after another.

Superlatives fail to define his greatness. I highly recommend this cd.

I value interesting music that is played and recorded well. This cd's rating was based on:
Music quality = 9/10; Performance = 9.5/10; Production = 9.5/10; CD length = 10/10.
Overall score weighted on my proprietary scale = 9.3 ("5 stars")

A second live release from Allan Holdsworth in one year. This one, however was recorded in 1990, 12 years (to the day) before All Night Wrong. I'd hate to compare the two, because the bands were quite different (Then! is a quartet and ANW features a trio) and each features a completely different set list.

Steve Hunt (keyboards; Stanley Clarke, Mahavishnu Project) uses many of Allan's synth patches and plays many of the Synthaxe parts that Allan originally played on the studio versions of some of these tunes. Steve does a commendable job filling Allan shoes keeping the chording consistent with the originals. Thus, he allows the master to experiment with his Bill Delap Baritone guitars, a breath-taking event! Jimmy Johnson (bass; Flim and the BB's, James Taylor and a host of others) holds down the bottom in his own unique fashion. He gets a few chances to jump into the spotlight and shine. Gary Husband' drums sound huge. He plays with such intensity and control. Any student drummer would be well advised to check this out.

The tunes, nine in all, cover a large spectrum of Allan's career. Proto Cosmos, a Tony Williams Lifetime favorite, is given a rousing performance. Atavachron is simply elevated to another level, which I feel blows away the original. White Line, sans Paul Williams vocals, is wonderfully reconstructed with Allan playing the vocal lines with much more emotion than any vocalist ever could, beautiful. Pud Wud features a brilliant bass solo from Jimmy Johnson, playful and intricate. My favorite moment on the track. Steve Hunt's synth work really comes alive on this tune, as well. House of Mirrors, slowly builds with a gorgeous melody and soft suspended notes cascading and drifting. This is one of Allan's most emotive solos I've heard. Non-Brewed Condiment rocks and pushes the band with muscular drumming and wild soloing.

The improvs, Zone's I, II and III, are phenominal examples of exploration. Each piece is interspersed throughout the CD, beginning, middle and end. They take the listener to uncharted territory, on the spot creations of what only highly skilled musicians can achieve. These tracks are not for the weak of heart nor short attention spans. The push and pull of each instrument creates tension, not to fight for the spotlight, but to add splashes of color onto a spectacular work of art. Curious and inspirational.

This is not a starting place for Allan's work. This one requires some previous exposure to Allan's music. It is a facsinating look at what can be done, on stage, by one of music's most enigmatic guitarists, as well as a snapshot of musical history.

PS: Be sure to have a pint of your favorite ale whilst listening, to salute the master.

I like some of Holdsworth work here, but all-in-all a piece of work that sounds like it was just thrown together with not much thought (or excitement) behind it.

One of the best fusion albums ever recorded! Completely
overlooked. Don't know many people who have this
CD or know anything about it. I am a fan of fusion and have
listened to Allan since he was with Bruford on his first solo
album. I have seen Allan several times in concert (including
with the first U.K. lineup). I want to tell everyone that this
CD just smokes!! You must listen to it loud!!

the keyboard and synth-bass playing is top level on this cd. really infectious low lines topped by great organ, other keyboards and holdsworth playing his *!# off all over the place. Three virtuosos, a lot of [guts]. good composition. Quite recomendable for holdsworth fans, and for guitarrists that have not heard him...

The track, "Joint Ventures" is worth the price of this disc alone. This tune has it all; groovism, hooks, shredding, fusion and feel! It's raw collaboration of the musical minds in this collective. Jens wears many hats on this track. He plays the bass via his synth. It's heavy and has total groove. He also plays the rhythm rock organ parts of course. He also plays the screaming, lead melody that hooks the listener instantly.

The "B" section of this tune proceeds to introduce the incomparable Alan Holdsworth and his synth-axe, "uncommon chord" work as a back drop for Jens as he jams out a solo bass groove (on keys remember but few will be able to tell). The modulations in the following sections are total "Holdsworthian". What a treat for the listener. Alan then takes the forefront with steller guitar solo work that is nothing short of brilliant only to be melded into a solo takeover by Jens on lead keys for yet another breathtaking solo section. This tune has incredible feel and groovism. The rest of the disc is simply icing on the cake. This tune is that good!

BUY IT RIGHT NOW!

Gawd. Allan Holdsworth takes virtuoso jazz fusion guitar to an entire new level. Unlike other guitarists of his league, like Shawn Lane, he is a level above. His freestyle fusion chops are ALL melodic and played at hyperspeeds yet they remain just perfect sounding. Don't get me wrong Shawn Lane is excellent but Allan Holdsworth is something else. Not to mention that his music is impossible to play unless your fingers are 12 inches long. And did I mention the overall CD sounds absolutely phenomenal and beautiful and each song conveys a different feeling? I think Allan also did bass (?) and the basswork is incredible, the basslines are thoughtful and original. The drumming is amazing as well, I had no idea Yngwie's drummer could do this type of jazz, however it is rather metal-influenced jazz drumming with double bass work in there. The keyboards float through and give Allan the perfect backing, and more often than not trade solos with Allan. All the players on this CD are simply amazing. This is one of the tighest most amazing groups I've ever heard. I can't stop raving about this CD. I only wish they'd do another one.

This project has a great four piece lineup of Chad with Allan Holdsworth, Jim Cox and Jimmy Johnson recorded at Capitol Studios in 1991.

I love Allan's recorded output, own most of it and feel he is an innovative and soulful player/composer without many peers. I've enjoyed most of his Synthaxe playing (especially Distance Vs Desire from Sand) but this recording, which I've wanted for some time is disappointing. If you are a fan you can find this at cdbaby for about $20

This is an O.K CD.....I'd recommend that you start with something else if you are new to Holdsworth. Don't pay the ASKING PRICES HERE $70 U.S...YOU HAVE GOT TO BE JOKING...THAT'S AN ABSOLUTE RIPOFF!!! Stuff like this makes me sick...people making profit at the artists expense...Don't give them the satisfaction!!! Allan Holdsworth is a genius , but this is far from his best CD.

Collectors and fans only... My suggestion is for you to buy "Metal Fatigue," "Secrets" and the "Sixteen Men of Tain." Listen, learn to appreciate an acquired taste. Study the sounds, complex melodies and unearthly rhythms. Get to know the man; read the many bios, articles and comments by guitarists and guitar historians. After you've become well versed, seek and find Flat Tire... Only then can you unlock the beauty of this disc. On first listen I was completely underwhelmed. The Synthaxe is not your everyday instrument. It's a bit harsh and cold at first. It took me a while to accept the sound and get to the music.

This is the one man show, much like the guy with a kick drum, accordian and harmonica. Allan plays all the drum parts using the Synth triggers, a tube that Allan blows through, controls the power of a note and adds sustain. The tunes really dance and flow with an emotion which is deep and personal. You must keep in mind that this album serves as a soundtrack, the actual sub-title is: "Music for a Non-Existent Movie." There are a lot of ambient passages and chord washes that swell and spin, but Allan's solos are lilting and fiery.

Dave Carpenter adds bass on two tracks, which gives those tracks a bit of warmth which is missing throughout.

Check out the 4 star Allan Holdsworth discs first. If you can't get enough, then get this one.

Next to the short recording, Sand or IOU, This is Allan Holdsworth BEST work! Yes, it is a personal recorded, but it is also a Masterpiece record in many ways. I have followed Allan since his days with the band Tempest and have watched him grow as a writer, performer, production master and Player. Listen to the song, "Don't You Know" and you will not believe this is performed entirely without keyboards! Listen to Curves, and you'll think he is a whole band. He mastered what he invisioned the Synthaxe to do- Perform like an entire orchestra. Well that might be pushing it a little, but it is fantastic. Best spin!

A fabulous outing from master guitarist Allan Holdsworth, and the only release prominently featuring his rarely seen Synthaxe. The instrument lends itself well to his trademark legato playing style, and features bassist Dave Carpenter on two tracks and Allan on guitar on one track. "Flat Tire" is an intensely personal collection of originals that deserves a good listen and then some. This rarity is a must for Holdsworth collectors and Synthaxe fans alike.

Allan is incredible ...... I understood Coltrane's " Ascension" and Sun RA, Schonberg. Berg,and the rest of the avant -garde, rather easily when I first started playing back in the 70's..But Allan really made me back then , suddenly develop my listening ability to an unprecedented level very much like Eric Dolphy .

A grand musical genius of the highest stature humanity can produce ..and we are all the more blessed to live in his time!



Ney Mello
[...]
[...]

Last night, I slowed down Holdsworth's solo on Isotope to half speed and tried to understand what was going on. I could hear the lines in my head, and everything seemed musically logical, but it wasn't until I tried to play it on the guitar that I fully appreciated the depth of his playing. The last time I had an experience like that was about five years ago, when I heard Wes Montgomery for the first time.

Holdsworth's guitar playing here is absolutely stunning. Although he has seemingly limitless technique, he uses it musically, as evidenced on his well-paced outing on Nuages. He has a great command of Coltrane's harmonies and chord substitutions, but it sounds intuitive and melodic, not forced or clinical. Simply put, I can't think of any other guitar player who could conceive of, or execute, the music that Holdsworth creates on this recording.

The supporting musicians are great as well, especially the bass player.

Unfortunately, the digital piano on this recording sounds dated, as do the tones that Holdsworth chooses for his SynthAxe work, and it can distract from the recording. So five stars for the playing and three stars for the sounds.

I agree with a previous reviewer; hearing a great player play on standard song forms presents a terrific opportunity for analysis. That would be true even if the results weren't entirely asthetically successful, but in this case they are. This is truly beautiful music. And it's amazing to hear Holdworth step out into - what would seem to be - unfamiliar terrain, and how he makes it his own. No problem for him; changes are changes. He is very much like Coltrane, in that he's invented his own melodic/harmonic formulas that he's able to superimpose onto other tonal systems. Like with Trane; everyone might not get it (in fact, most don't), but his formulas work! It will be years before his innovations are understood and absorbed. For those that don't like this CD, I wouldn't worry, this was evidently a brief diversion; an indulgence.
Side note: wouldn't it be cool if Allan moved to New York and worked with some players there, at least for awhile? There are far more musicians of his caliber in NY, and I just think he would fit in better.

This album was the last thing I expected when it came out.
I saw it on the net one day when doing a search on "Allan Holdsworth". Needless to say, I was not sure if it was for real at first. Who would have thought that he would bring out an album of relatively straight-ahead jazz standards ?

But it was a pleasant surprise, and already being familiar with these songs, I was curious to hear his treatment of them. I was not disappointed - the familiar changes gave me some valuable insights into some of the devices Allan uses in his solos due to my ears hearing them in a more conventional harmonic context.

It is always nice to hear how a player handles "Coltrane Changes" (ie the type of chord changes in 'Countdown' or 'Giant steps'), and as you would expect, AH just tears them apart on "Countdown". What I found interesting was the free section before and after the head. I though this was a nice touch and made the whole arrangement sound more "allan-esque".

"Isotope" is interesting too. You don't often get to hear AH play a 12-bar !! As you would expect, its not exactly Muddy Waters, but its a very interesting blues solo. Gary Willis plays a nice solo in this track too.

The title track, "None Too Soon" is a more typical Holdsworth tune, but with a swing feel. There is a really pretty bit in the middle which gets interrupted by an annoying dissonant synth-noise (at around 5:30) which I cannot get used to, no matter how many times I listen. Overall, however, I love this track.

"Norwegian Wood" gets a modal treatment, and "Very Early" has a very relaxed tempo and a nice arrangement with Gary Willis playing the head on bass. Allan doesn't actually take a solo on this one, but comps and plays the head-out on synthaxe.

On the downside, I think that Gordon Beck's Piano Sound is really tinny and crappy. I would have liked to hear a 'real' piano at least !

Its hard to say who this album would appeal to - the "JAZZ POLICE" would probably hate it. I guess the target audience is jazz guitarists, since the main attraction is the brilliant and quirky guitar man himself.

This album is definitely worth checking out unless you are a purist that believes it is "Not Jazz" unless the guitarist plays an archtop. If this is the case then please don't bother writing your review - just leave it alone and let everyone else enjoy the music. OK ? Good. Thanks for that.

Mr. Holdsworth is a global musical treaure. His complete mastery of his instrument, unequivically unique soloing voice (both in tone and phrasing) and his stunningly beautiful compositions have given me some of my most pleasurable listening experiences of the the last 30 years.

I am unapologetically a Jazz fan - but I grew into jazz from rock and blues by way of jazz-rock/fusion. What a thrill to hear Mr. Holdsworth's interpretation of these wonderful standards! It may be to "soft" for some of his progressive fusion fans but for me, it's the recording I've been longing to hear (perhaps I'm not alone and thus the title of the recording?)

I believe it was Jimmy Herring, a wonderful guitarist in his own right (Aquarian Rescue Unit; Jazz is Dead) that recently stated in a Guitar Player Magazine article that "it will be another 50 years before we truely understand and appreciate (Holdsworth's) harmonic approach and sensibilities" - or something to that affect. I concur.

Gary Willis and Kirk Covington (from Tribal Tech fame with Scott Henderson and Scott Kinsey) are as tight and innovative a rhythm unit as there is and of course the great Gordon Beck has been a jazz presence since the late 1960's.

Although there isn't a bad (or mediocre) track on this recording, Joe Henderson's "Inner Urge", Coltrane's "Countdown" and the modern Beatles standard "Norwegian Wood" blow me away.

This is, without a doubt, very essential listening. Other Allan Holdsworth recodings I highly recommend are: "Road Games", "I.O.U.", first self-titled release of the band UK, Jean Luc Ponty's "Enigmatic Ocean", Tony Williams' Lifetime "Believe It", and AH's "Sixteen Men of Tain". Also, on Mike Mainieri's (leader and vibist with Steps Ahead) first Beatles tribute release "Come Together Vol. 1" has Allan (with the same band as "None Too Soon") playing a drop-dead gorgious rendition of "Michelle" - I HAVE to listen to it at least 3 times in a row, the solo is so killer!

Thanks you Mr. Holdsworth for all that you given us (please don't stop).

stew