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50 minutes to scratch the surface
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05-18-2025 11:57 AM
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Quote: "Legato is a sound not a technique", very true.
Excellent, you've done fantastic work analysing Allan Holdsworth's Jazz playing. This must have took a long., long time. Much appreciated.
I'm a big Allan Holdsworth fan, I think some of the chord voicings he uses and some of his harmony in his songs are genius.
I've tuned in 4ths for over 15 years.
3NPS and big hands, so don't play them licks at the low end of the neck.
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I’ve been working on that solo since late 2023
Originally Posted by GuyBoden
Quote: "Legato is a sound not a technique", very true.
Excellent, you've done fantastic work analysing Allan Holdsworth's Jazz playing. This must have took a long., long time. Much appreciated.
I'm a big Allan Holdsworth fan, I think some of the chord voicings he uses and some of his harmony in his songs are genius.
I've tuned in 4ths for over 15 years.
3NPS and big hands, so don't play them licks at the low end of the neck.
Sent from my iPhone using Tapatalk
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Ahh Christian..thank you for this..
you always surprise us..from Bach to Bop
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Haha thanks... Originally Posted by wolflen
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The "emotional connection" is evidently key. Good video.
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If you've wondered how Allan Holdsworth approached recording the songs on "None Too Soon".
Devil Take the Hindmost, The Otherworldly Music of Allan Holdsworth: 21: With a Heart in My Song, None Too Soon
https://www.richardhallebeek.com/int...ldsworth-1996/
The album was recorded in Allan Holdsworth's home studio "The Brewery"
AH interview quote:
"I grew up listening to that kind of music (traditional jazz). I was never actually actively involved in playing like, standards or something, so what I would do was – what are the chords, these are the scales – and just play on it. I didn’t have a formula for it – I just played it as if it were an original tune I had never heard before. We thought it was a good idea to show my playing in a different context. Maybe my music becomes more accessible for people if they can recognize the songs? I wanted to establish that a chord sequence is a chord sequence: the fact that one is traditional jazz and the other is from my own music makes no difference. The other thing I wanted to achieve was to play in a traditional (Jazz) context with my usual distorted sound. I think it worked. The other good reason for this choice is that I haven't written enough original material to fill an album"
"All in all, the basic tracks were finished in three to four days. If I overdub the guitar solo, I try to lock in with the music I'm hearing. In the past, the end result sometimes sounded as if I was just not there. Lately things have been going better and better. It's still improvisation, and that's what's important for me. I think it turned out pretty good and we'll probably end up doing another, but we'll use a real piano next time, as poor old Gordon (Beck) had to deal with a digital one - something he's not used to at all!"
": I heard you might do thousands of takes before you’re happy with a solo
AH
"Indeed. Usually, I’m not easily satisfied with my playing. First, I always start out by writing a chart for myself with the chord changes of the song and the scales that belong to those chords. I’ve applied that same way of working on my latest standards album, although none of the songs were mine. I don’t approach the songs like a bebop player would do, like: playing his favourite licks over the same chord changes. If I hear something in my playing that occurs too many times, I try to avoid it. Then I just play long series of solos until I end up having something I’m happy with.""
AH
"My problem is that I always want more from myself than I can possibly give. I hear it in my head, but it seems I can’t fully reach it. My head is always ahead of my hands. When my playing gets a little bit better, I can do what I’ve heard in my head before. But right now I’m hearing things which I can’t play at the moment. And that’s always very frustrating. I don’t think it will ever change though."
Nuages:
"What I wanted to do was my own rendition of something Django had done, rather than try to do something in a way that he might have done it, which I couldn't do anyway. For the introduction I just took and re-harmonized the middle section. Then we just played over the sequence and the melody actually comes at the end. Django was always one of my main inspirations when I was younger. My dad used to have lots of Django records and I thought he was absolutely amazing."
AH
"I play almost constantly, but it’s something organic, I don’t have a schedule or something. I play when I feel like it. My major hobby is cycling."
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Hiya Christian.... Do you write your own music?
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Yes - I have an album out mostly of my compositions. See link! Originally Posted by DC Cornelius
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Carol Kay's session work with Brian Wilson / Beach Boys
Today, 10:19 AM in The Players