I love 70s Holdsy!
I love 70s Holdsy!
no tunes, no dynamics, no nosebone
Fuckin' awesome!!
Nnnnnnniiiiiiiiiiccccccce . . . . . . . . .
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Nice find!
I must admit, that IMO its not his finest hour, he tries to play 'jazz' but most of the time he doesnt really hit the spot. The last solo is the best.
But its interesting to watch him in a period where his playing is still of this world!
Very cool!
He is playing jazz, but he just ain't swingin!Originally Posted by Zeuhlmate
no tunes, no dynamics, no nosebone
You can say that again
I would think that a lot of jazzguitarist wouldn't call it jazz (I can hear them say: There is more to it than doodling scales over chord changes), but there we are again, what is prog, jazz, rock... and do we care much?
And nobody (except Ollie) was doing anything similar at the time, he was in a developing phase - a year after, the music on SF - Bundles fitted his playing style much better.
Did anyone notice in the opening credits they spelled it: Alan Holdsmorth?
I love it... I must be a total Holdsworth fanboy, because I think he just smokes from beginning to end on this. Smythe is no slouch either (never heard of him before).
But I wish someone had bought Marshall a new shirt!
I'll readily admit I'm a Holdsworth fanboy. I loved this video. This kind of music is right in my wheelhouse. I especially appreciate the little Han Bennink bit Marshall inserted into his drum solo.
Holdsy started swingin in the 90s.
no tunes, no dynamics, no nosebone
Thanks for posting this! Great to see this, especially because of the very well quality of the video.
Is it correct that this performance isn't on http://calyx.perso.neuf.fr/bands/chrono/holdsworth.html ?
Compared to Soft Machine Holdsworth seems a bit without a compositional idea on this one.
This video had me rushing to Wikipedia. Interestingly the height of Pat Smythe's career was well behind him when this happened. He was probably coasting along at this point, riding the fusion wave that was rolling across America and Europe. I immediately recognized Marshall but not the bassist. And it doesn't appear that this version of the trio ever recorded, but I'm sure they gigged a lot (probably mostly in France!
And put me in the "not Holdsworth's finest hour" camp. It's fine to reel off fast solo lines, but I don't get any sense of harmonic grounding here. IMO Pat Metheny did this kind of thing *much* better. IMO Holdsworth operates best within his own style and against more angular material and instrumental accompaniment.
I'm holding out for the Wilson-mixed 5.1 super-duper walletbuster special anniversary extra adjectives edition.
Some sort of upside-down lysdexia. W, M...
Gnish-gnosh borble wiff, shlauuffin oople tirk.
It's like he hadn't worked out his harmonic concept yet. Extremely impressive technical playing, however, especially considering how low gain his tone was. Getting the attack that even on those legato lines is not easy.
Possible Worlds http://www.possibleworldsband.com
Yeah, but this was a modal piece without a lot of chord changes.You can say that again
I would think that a lot of jazzguitarist wouldn't call it jazz (I can hear them say: There is more to it than doodling scales over chord changes), but there we are again, what is prog, jazz, rock... and do we care much
Holdsy's lines were pretty cool, no doodling although lots of streaming in there.
no tunes, no dynamics, no nosebone
If you are saying that he he is not playing to the changes, then we will agree to disagree. Listen again. No wankery - he completely knows what he is doing and if you took one of those half-speed machines or software such as The Amazing Slow Downer, then you will hear that he is all over the changes. Its true he is hitting notes of "color", but its wrong to imply he is blowing bullshit at random. If you didn't mean this , then my apologies in advance
Slightly OT, here's Allan's tribute to Pat Smythe from his Secrets-album:
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