The Sixteen Men Of Tain (Allan Holdsworth) - Joshua Meader
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- Опубліковано 27 тра 2020
- Excited to be featured on Sebastiaan Cornelissen's awesome project honouring the music of Allan Holdsworth. Here’s a solo I did on his arrangement and interpretation of The Sixteen Men of Tain.
Sebastiaan Cornelissen - Drums
Frans Vollink - Bass
Myself on Guitar
The full release of the album is on June 1st, and you can preorder the album at this link;
sebastiaancornelissen.bandcam...
finally someone who is inspired by the Maestro but is not another cheap imitation ! GREAT MAN !
exactly holdsworth would approve of this approach as from what I understand he really despised people copying his phrasing
Matteo Mancuso, another one for the young greats who does Allen justice as far as an influence and not an imitator. But still, Josh is amazing at what he does here. Allan would be proud indeed.
I'm on a meader binge and this is one of the best so far. Drummer absolutely kills it too.
Bro check out the ones he does on his Abasi Larada 8 string, especially Etudes 1 and 2, those are next level complex melodic tunes
I'm convinced: This is how Holdsworth would have liked the title song of his so titled album to be "replayed".
In some passages he soars like Allan did - sometimes even above the clouds - most of the time "Above and (slightly) Below" :-)
Just the congenial drummer nails it down to earth, to make it catchable for us listeners.
I'm in to rock blues etc and was explaining to my partner that I like jazz also in small doses but couldn't put my finger on the jazz sound I like,, then this popped up that's the sound,... Freaking awesome what a talent
There are so many great players on UA-cam, Joshua is absolutely captivating. I so love this mans playing.
I can listen to you all day! It is hard for me to keep an interest on a particular musician but you wholeheartedly rock like no other. Thanks for sharing your talent. Much respect!
omg al di meola on drums!
Out of this WORLD my friend! You sir are an Alien from outer space! I've never heard anyone play over Holdsworth's changes so amazingly. Allan would be proud and I'm sure he is if he's out there in the cosmos listening :)
Great solo and legato! The drummers also killin' it too. Great job bro(s).
I actually like the tone of this more than what was on the record. More hypnotic.
Whoa. The spirit of Holdsworth and Coltrane is still alive! Thank you, Josh Meader.
Ikr, so Farking awesome
Very, very nice! I love Holdsworth, but what an excellent contrast here with your extremely clean non-overdrive tone and spectacular ideas. Much Respect!!!! There, I started a new playlist just for your material. :)
Beautifully flowing with an intense melodic rush..
That is superb. Thank you so much for sharing your music with us, Josh.
I had to check that I didn't have the video speed on 1.5 or 2. No, it was on regular speed. My god.
Your canal is gold.
That’s just outstanding… 😲😲
You are one of the greatest
Amazing tribute! keep with the magnificent job!
Very interesting hear another guitarist improvise on those same changes
Sick!
Awesome playing and sound.
Wow!!!
All the colors of the spectrum
1.47 - 2.02 wooooooo!!!! and Sebastiaan is crazy too
As always, so good to hear your great playing. Cheers!
🤯🤯🤯🤯🤯🤯
👍
super
I have trouble believing he ever puts his guitar down, given his level of playing.
The treatment of the chords reminds me quite a lot of one the Andy Summers solo albums... can;t remember the name right now....
"charming snakes"
This is 🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥
I would have envied you before but now it's praises
this sounds like it could have been on Mike Keneally and Beer for Dolphins's "Dancing" album
Amazing man, my inspiration !
mine too...for sell guitar and go to drink beer.......
Drummer's not joking either.
Josh, man, this was beautiful
This guy is amaizing..So much talent
Man genius how do you do this ? How does your brain work ? Want to know
Hey man! Did your tele come with that bridge assembly and the 6 saddles? Or did you modify it, and if so, where did you get that piece? I've been looking all over the place for one similar to yours but I can't seem to find one that fits my tele.
I'm pretty sure his bridge is stock. instagram.com/p/BuYjK5znGvy/?igshid=ht4e0om5w17k
Really curious what pick you use.
Get an album of this stuff in iTunes and I'll buy it
He was working on one last year before Corona separated the bandmates. I'm hoping he finishes it in the early months of this year. He recently got abasi endorsed to so we gotta be getting some music soon.
Very capable guitarist but Allan’s phrasing and tone is miles apart, including the intensity. I am sure its a tribute and outstanding execution of Allan’s aesthetics from his (Josh) point of view. As an interpretation it is good enough but this is my favourite track from the album and I know what I felt the first time I heard it and subsequent times. I don’t feel that vibe at all. Allan’s lines tell a story and the interweaving is out of this world, not just the execution, its also the individuality and uniqueness of his sound which is by far unmatched by anyone. However, full kudos to Meader for his own tribute and fantastic execution, I am sure he goes ahead miles than most in terms of technical capabilities. I wish him all the very best.
Alan’s tone was terrible. The worst. Incredible player but Josh is playing this clean. That is about 10 times as impressive as doing it with a shitty saturated synth tone.
@@AlexVonCrank @Cranky Alexander What you are saying is like 80's sound or 90's sound depending on the technology was the least significant thing or something of that sort. Allan's own tone evolved and maximised the utility of WHATEVER was available at the time transcending the use cases and developing his OWN sound in the process and he himself is a self proclaimed electronics addict and compares it to plumbing which electronics really is. You should read the liner notes on his live recordings and try to fathom his rig. His idea of distortion was that it sounds very ugly and he gave it a 'shave and a haircut'. No one sounds like him -both music and tone and he plays better than Steve Vai, Van Halen, Santana, Satriani and anyone else for that matter, and all look up to him for that. Getting his tone is a mystery as well and exercise in precision engineering with artistic intuition and divine sheen. That says a lot in a short history of Western music of about 300-400 years now, with hordes of cookie cutter and play by the numbers guitar players, not to mention the bane of shredders, and this guy j ust saunters in with a second choice instrument and changes the game for everyone, including hte best of the best. Check out Rick Beato's analysis of his tone, read the published books from his fan community and interviews with his teammates and even better search for "UA-cam Allan Holdsworth guitar tone" and see how many hits you get to see how many folks have figured out his 'tone' let alone his music.
That said, Josh and more recently Alex Sill has a deft hand, and music is in his genes and education as well, so taking the lingo and language of Allan and making it his own is absolutely beast mode and is commendable, keeping in mind that it IS Allan's sound, not Josh's/Alex's, so we may have fine performer for our generation but to be Allan is a different game and we must not let Allan's accomplishments overshadow Josh/Alex's brilliance as well, as Allan always said (paraphrasing), do not try to sound like me, try to sound like you. I think Josh/Alex achieves that with aplomb.
@@AlexVonCrank I think Allans tone was pretty cool
@@AlexVonCrank Guitar tone on 16 men of Tain was great.
@@Kweesh I actually agree... I just didn’t really get it when I wrote that but after further review I see what he was going for. His music didn’t grab me straight off. More of a slow burn.
Is it an improvisation?
does he do finger style or only pick stuff?
What a talent. Guitarists are scared of this kids chops. Unbelievable where he’s @ already!
Guitarists should be overjoyed; the best inspiration is a good old-fashioned ass kicking. If you ever start feeling like nobody's challenging you, all you got to do is watch a few minutes of Josh to remind you we're all hacks!
Very clean picking technique..Ive worked a lot on mine and you can barely tell I'm picking..looks like I'm writing cursive like Eric Johnson
There should be at least three zeros added to the end of the view count. At least.
I don't get comments like this. The average person, hell even the average guitarist, won't comprehend what's happening here due to its extremely advanced nature. The view count doesn't validate the artist anyway. Whether you're meaning to or not, you are subtly implying that having 10k views on a video isn't enough.
Correction there should be three zeros on the view count and the jazz nerd pedants should shut the heck up.
Who is that drummer!
Bro could you please upload the backingtrack???
You might have better luck contacting the drummer. This was his project, a tribute album to allan with original solos so maybe he still has the tracks. Good luck.
Watch this guy. Wait until he gets older and he learns to control his boundless energy. It's going to be sweet.
This falls in the category of great guitar that can't be heard.
Why did someone like Gambale get in Chick Corea?
Play loud
Like Miles said," Turn up, or Turn off."
Thumbs up anyway, for other level greatness
I can hear him just fine-and I’m kinda done with the screamin’, louder than holy hell lead guitar thing.
@@davebartholome2924 is Mike Stern "screamin'" or just loud? Lol
@@johnmcminn9455 Haven’t heard him recently. I enjoyed his playing with Miles and in the early part of his solo career. At some point I stopped following him because I felt like I had heard everything he had to say. In any event, I didn’t mean to cast aspersions on any particular guitarist with my comment. It was just a statement of my changing tastes. Starting as far back as when I first heard Pat Metheny (with the first PMG album), I began to realize that there were other tones and textures to be explored on guitar that didn’t come out of the rock realm. And even though I still listened to the guys who played with the rock-ish tones, I gradually became more interested in those who didn’t. Kurt Rosenwinkel, Ben Monder, Jakob Bro, Julian Lage, Steve Cardenas-there’s lots of guys now whose playing doesn’t show much rock influence-maybe because most of them grew up after the 60s/70s, when the rock guitar player was a demigod. Pat Metheny is the exception, of course; he grew up during that era of the rock guitarist as demigod, but was such a jazz head that the idea of emulating Eric Clapton (or John McLaughlin) never seems to have occurred to him.
@@davebartholome2924 wow i never heard of some of the players you mentioned
Metheny from what i understand is influenced by his older brothers horn playing
It's funny how pat really doesn't play bop anymore but he was probably faster than joe pass at one time
Wes also played bop with the montgomery brothers , which really actually shocked me , how much the language of jazz was there as well
@@johnmcminn9455 You’re right, Pat has said his brother influenced him, not just through his playing, but also through the music he listened to. It was Mike who brought home the album that hooked Pat on jazz: Miles Davis’s “Four and More.” (Pat was 11 years old.) Yeah, Pat has never really been a bebopper. I mean, he learned to play bebop, and clearly respected it, but from the beginning, he wanted to compose and play his own music, and that’s exactly what he did, from his very first album, “Bright Size Life,” which no one would confuse with a bebop record. And the first jazz cover he recorded (on “80/81”) was Ornette Coleman’s “Turnaround.” He didn’t record a bebop tune until 1989’s “Question and Answer,” on which the opening track is Miles Davis’ “Solar.” And if ever recorded a bebop tune again, I’m not aware of it.