Soft Machine - Bundles

[Zeuhlmate]

btw - and not Bundles related but Anais Drago (see above) is talented in many ways:https://www.youtube.com/watch?v=ms6H...ature=youtu.be

[MYSTERIOUS TRAVELLER]

Respect !

wow
did she transcribe that herself?
that flurry starting at 2:39 is pretty impressive

[Conti]

Really impressive performance. She absolutely nailed it.

[jkelman]

Wow, she does an impressive job. My only criticism? She misses the way Allan, at the time, used to bend a note a choice it off before pausing. I always found that particularly effective and one of the things that I missed the most in Allan's playing, starting around the time of Metal Fatigue and moving forward. I loved his legato playing, but also the way he effectively used bends (which he largely deserted as well, certainly by the mid-'90s of I recall correctly), both in general and with this choking them off thing, which I always found viscerally broke up all of the rapid fire playing,

His solo on Hazard Profile Pt 1 remains a career highlight, an absolute marvel of longform soloing that, nevertheless, oozes compositional (albeit spontaneously created) intent. It's rare to hear a solo that just makes so much sense and has such a strong narrative.

Anyway, barring that one tiny quibble, I thought she did a remarkable job transposing the solo to violin.

[Boceephus]

Wow, she does an impressive job. My only criticism? She misses the way Allan, at the time, used to bend a note a choice it off before pausing. I always found that particularly effective and one of the things that I missed the most in Allan's playing, starting around the time of Metal Fatigue and moving forward. I loved his legato playing, but also the way he effectively used bends (which he largely deserted as well, certainly by the mid-'90s of I recall correctly), both in general and with this choking them off thing, which I always found viscerally broke up all of the rapid fire playing,

His solo on Hazard Profile Pt 1 remains a career highlight, an absolute marvel of longform soloing that, nevertheless, oozes compositional (albeit spontaneously created) intent. It's rare to hear a solo that just makes so much sense and has such a strong narrative.

Anyway, barring that one tiny quibble, I thought she did a remarkable job transposing the solo to violin.

It always made me wonder why Allan would drop any technique that he felt was becoming “popular”. Like the whammy, bends and progressive ascending or descending beyond three notes. Most guitarist just add to their “tool box” of skills. Allan just did the opposite.


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[Splicer]

It always made me wonder why Allan would drop any technique that he felt was becoming “popular”. Like the whammy, bends and progressive ascending or descending beyond three notes. Most guitarist just add to their “tool box” of skills. Allan just did the opposite.


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Just a guess but might he have gotten annoyed at the prospect of being gimmicky and having people show up waiting to hear him do "that thing" like a trained seal. I would think as a creative (and someone who always came across as being somewhere on the spectrum) he might have bristled at that.

[jkelman]

It always made me wonder why Allan would drop any technique that he felt was becoming “popular”. Like the whammy, bends and progressive ascending or descending beyond three notes. Most guitarist just add to their “tool box” of skills. Allan just did the opposite.

Just a guess but might he have gotten annoyed at the prospect of being gimmicky and having people show up waiting to hear him do "that thing" like a trained seal. I would think as a creative (and someone who always came across as being somewhere on the spectrum) he might have bristled at that.

There's no reason why he could not have evolved his approach, as he most certainly did while, at the same time, using those wonderful choked bends and other approaches. Less a fear of gimmickry, I think it was his pursuit of a tone that eliminated all attack and become more horn-like. Sadly, it resulted in a more sterile sound, at least IMO, and I see no reason not to take new ideas/approaches and add them to what he did before rather than replacing them...but Allan's relentless self-criticism meant, I think, that he was constantly trying to make everything completely perfect..and that is a pursuit fraught with peril, again IMHO.

Pat Metheny has, for example, always been about adding to his arsenal, not removing. Sure, over the years, certain things that were regular signatures/devices have become less frequently used...but they're still there, waiting to be used when the music demands it,

I so wish Allan had done the same. Barring a couple of exceptions (the just-released Soft Works Live in Osaka show on MoonJune, which kicks ass and is highly recommended, and the Holdsworth-Pasqua-Haslip-Wackerman quartet of around 2007-09, the last decade of Allan's life became technically staggering but cold and sterile, for the most part. For example, much as I love Sixteen Men of Tain, I find his tone becoming samey, his overall improvisational approach while mindbogglingly staggering, losing site of the music - all about the blow and not about focused solo construction. The live All Night Wrong is, IMO, Allan's career nadir. Technically staggering, emotionally unsatisfying. And I love his work, well and truly.

But he lost (or decided to lose) the grit, bite and visceral whammy bar inflections of his earlier work, and I think it could have all been a part of his evolving sound and approach. Yes, he was looking to eliminate attack and become more horn-like, but I think that pursuit would have been even more effective with the addition of his earlier devices.

[interbellum]

But he lost (or decided to lose) the grit, bite and visceral whammy bar inflections of his earlier work, and I think it could have all been a part of his evolving sound and approach. Yes, he was looking to eliminate attack and become more horn-like, but I think that pursuit would have been even more effective with the addition of his earlier devices.

Well, this is clearly a matter of taste. Personally I think his style became more and more emotional from the days of Soft Machine on to the 90's, like on the wonderful Hard Had Area.