I've listenned to many holdsworth solos--and when he gave me the tapes and i first heard this track... i thought that's the best live sound and the most insane solo i've ever heard him play... it was a struggle to get him to agree to letting me help him produce and mix the sessions... and then release the cd -- but many fans have thanked me since, even though allan was never happy with the guitar sound--I said "al, it doesn't matter becasue that's YOU playing!"... -- chris hoard
Thank you thank you thank you!!! I know I’m not the only one that thinks at @2:09 is one of the most intense burst of energy in one of his solos!! Such fire and attack and execution my god! So glad this was released
The willingness of Allan Holdsworth to allow this archival live recording to crawl forth from the vault required 12 years of mental fermentation and no small amount of coaxing. Many fans remember the strong chemistry of this quartet in live shows, which featured original IOU drummer Gary Husband with bassist Jimmy Johnson and keyboardist Steve Hunt. Then! captures one of Holdsworth's most celebrated ensembles live in a Tokyo jazz club in 1990 with an audiophile, digital 24-track recording. It's a long awaited document of a master improviser, the man who many musicians regard in the same way for guitar what ultimate respect and wonder Coltrane commands on saxophone. Like Coltrane, Holdsworth is a master whose extended solo guitar improvisations hold listeners spellbound.
He's completely into it. It's almost as if he's intentionally leaving out notes sometimes as a singer would to catch their breath, in the right pace. He's merging with the guitar to form the sax. It's something entirely different. I'm gonna miss him.
1:31 this line has haunted me for ten years. It scares me when I think of it. I've been playing for twenty and only now starting to see how what he did works on the fretboard. There's a certain physical relationship you have to have with the guitar to do this. It's a different orientation of the left hand to the neck and a different set of coordinates for how your two hands work together to control vibration on the strings than what most guitar virtuosos before him did. Of course he figured it out so many years ago that by the time of these classic recordings he had already gotten so advanced with it that he could put it in service of a specific artistic vision. I shook his hand once a couple years before he died. I asked him why he never plays Spokes live. He got nervous and left. What can I say.
I love this comment. I come back every so often just to read it. Not being a guitarist, it gives me an understanding of how a guitarist might think of his solos..
@2:09 !!!!!!!!!!!!!!!!!!!!!!! That’s the most fiery amazing burst of energy into a solo I’ve ever heard, it’s such a moment, almost sounded like he was a little shakey right before it and it was an answer to the hesitation, like pause... and then gigantic fireball super sayan style hahaha my fav guitar master at his best!!!
Was waiting for the 2:08 lick everyone is talking about... I have this album saved as one long track, so by the time this solo comes, the time stamp is around 38mins or so... I am sooo happy people are hearing, what I think is the greatest take off improv moment of allans. I have listened to almost all the bootlegs you can find (AH geek) like a deadhead but for Allan the greatest guitarist of our time.
A Terrifying Kind of Beauty. I have been following him since his days with Tony. Saw him live in 1976. He was still developing his vision and sound. But even then, he was astonishing. However, I now think that it is his *mind* that is even more astonishing than his playing and songwriting. After all these years, I still I don't see how it is possible to even *think* the way he did.
And then I listen to his more simple 1min solo called prelude. .........and simply weep at the sad beauty of it. I ask myself the very same question. What was going on inside the man. The choice of notes is overwhelming at times.
Job very well done sir! I actually think this version sounds much better than the original studio recording! Allan's obviously very particular about various things which are imperceptible to the rest of us... which is probably why he always sounds as good as he does. I've seen him live 3 or 4 times & it's never been anything short of awesome. So, many thanks again Chris!
Fuck man! There are a number of vids of brave souls attempting to rip through the head of this tune and my heart goes out to them but no can really get through it cleanly. Allan just smokes it. Every note in those runs is crisp.
For anyone into live Jazz, Blues, Rock, Fusion, Steve Hunt gigs in/around the Boston area with a variety of different cats. On Friday, June 22, he'll be at Ryles Jazz Club with Sal DiFusco Project again. /watch?v=tfJKkXlVvuw&fmt=18 /watch?v=tEz4FWne6CA&fmt=18 /watch?v=612q-S3fSs0&fmt=18
This was sped up even more than the original. How the hell did Alan play it this clean well above the album track tempo when most holdworthian players struggle to get this close to the album tempo? Mine boggling to say the least
Michael Williams, no he isn't, no one is! Derryl can copy a lot of stuff that Allan IMPROVISED! That is a very BIG difference! Also Allan's compositions are very unique. So, don't compare players who can get close to his level of technique to Allan who had the ability to improvise these out of the world lines in a live situation! No one comes even close!
@@MrPyroguru one thing is that Derryl can deploy the same elements as Allan into a solo, but Holdsworth invented them and what he did with the elements is more important that he deployed them altogether, i have never heard Derryl come close to Allan when it comes to real-time composing a beautiful and musical solo. Plus Holdsworth is also a notch above him technically and as a composer. Its easier to duplicate someone then to actually come up with something yourself.
There are certainly great artists in existence but true greatness spawns from original ideas, yet its effect on others is a posteriori It's simply easier to amass knowledge after a trailblazer has lit the path for everybody else. I generally don't listen to clones or players who intrinsically lack personal narrative in their playing.
My favorite live Allan solo, but probably my favorite solo by him, period. And there are a lot to choose from! I transcribed this beast and it looks pretty ugly on paper. 2:08 to 2:21 is PURE DAMN EVIL.
Yes, I don't understand the point of his work. I personally find direct reproduction not only useless, but harmful, because it encourages easy access to codified tricks. The basic premise of playing an instrument is to create with it. And I think you meant flagrant.
I've listenned to many holdsworth solos--and when he gave me the tapes and i first heard this track... i thought that's the best live sound and the most insane solo i've ever heard him play... it was a struggle to get him to agree to letting me help him produce and mix the sessions... and then release the cd -- but many fans have thanked me since, even though allan was never happy with the guitar sound--I said "al, it doesn't matter becasue that's YOU playing!"... -- chris hoard
Thank you for your work!!!
Thank you for convincing Allan to release this material. The whole release is amazing!
Thank you thank you thank you!!! I know I’m not the only one that thinks at @2:09 is one of the most intense burst of energy in one of his solos!! Such fire and attack and execution my god! So glad this was released
Thank you sir for this incredible gift.the best piece of music I have EVER heard.
The willingness of Allan Holdsworth to allow this archival live recording to crawl forth from the vault required 12 years of mental fermentation and no small amount of coaxing. Many fans remember the strong chemistry of this quartet in live shows, which featured original IOU drummer Gary Husband with bassist Jimmy Johnson and keyboardist Steve Hunt. Then! captures one of Holdsworth's most celebrated ensembles live in a Tokyo jazz club in 1990 with an audiophile, digital 24-track recording. It's a long awaited document of a master improviser, the man who many musicians regard in the same way for guitar what ultimate respect and wonder Coltrane commands on saxophone. Like Coltrane, Holdsworth is a master whose extended solo guitar improvisations hold listeners spellbound.
I love the polite clapping after Allans batshit crazy solo.
"not bad"
golf claps lol
woopetywoopwoop a sad and apt metaphor for the general reaction re this man's insane genius in general.
It's likely that most people were too stunned by what they just witnessed and needed a few moments to come back to reality.
Paul Czech Yeah its hard to clap when your brains have scattered after that head exploding solo!
He's completely into it. It's almost as if he's intentionally leaving out notes sometimes as a singer would to catch their breath, in the right pace. He's merging with the guitar to form the sax. It's something entirely different. I'm gonna miss him.
He probably does it to give his hands a rest like a singer would with the voice.. he is a human not an alien like people keep commenting
2:08 sounds like a hole being ripped in the fabric of our universe...a portal to another dimension.
Perfect description! Haha. :)
Best description I've ever heard! So true! Insane!
Perfect description. But I want to Add something, that happened because the one who was playing that freak solo was not from this earth.
YOU CATCH THAT THEORY. WHATS MODES HE USE!??
Gus Fogle THE WHEEL OF FATE LICK. It’s in all keys
1:31 this line has haunted me for ten years. It scares me when I think of it. I've been playing for twenty and only now starting to see how what he did works on the fretboard. There's a certain physical relationship you have to have with the guitar to do this. It's a different orientation of the left hand to the neck and a different set of coordinates for how your two hands work together to control vibration on the strings than what most guitar virtuosos before him did. Of course he figured it out so many years ago that by the time of these classic recordings he had already gotten so advanced with it that he could put it in service of a specific artistic vision. I shook his hand once a couple years before he died. I asked him why he never plays Spokes live. He got nervous and left. What can I say.
I love this comment. I come back every so often just to read it. Not being a guitarist, it gives me an understanding of how a guitarist might think of his solos..
This live version is Great. Holdsworth is BEAST!
+Joyce Sweeting He is an artist, that is for sure.
+Joyce Sweeting He is an artist, that is for sure.
The man. When Hendrix died I thought that's it.
Then along comes AH
I prefer this on version on guitar compared to synthaxe
I think of the two of them in the same vein. They developed their special gifts amazingly well, didn't they?
@2:09 !!!!!!!!!!!!!!!!!!!!!!! That’s the most fiery amazing burst of energy into a solo I’ve ever heard, it’s such a moment, almost sounded like he was a little shakey right before it and it was an answer to the hesitation, like pause... and then gigantic fireball super sayan style hahaha my fav guitar master at his best!!!
Allan Holdsworth is gone for another planet ... RIP MAESTRO
Many people refer to 2:08, but Alan already goes transcendental at 0:45 come on.
OH MY FUCKING GOD! THIS VERSION IS FUCKING BAD ASS!!!!!!!!!!!
My mind is completely blown right now
Allan is from another planet
This is easily one of the greatest A.H. tunes.
This version is is absolutely mental...
Was waiting for the 2:08 lick everyone is talking about... I have this album saved as one long track, so by the time this solo comes, the time stamp is around 38mins or so... I am sooo happy people are hearing, what I think is the greatest take off improv moment of allans. I have listened to almost all the bootlegs you can find (AH geek) like a deadhead but for Allan the greatest guitarist of our time.
Mind blown. And to think that 90% of this is just improvised!
the best guitar player in ther world!
i saw allan 2 glorious nights with gary and jimmy in hollywood. he opened with this tune... just incredibly beautiful. never forget it
Steve Hunt's solo compliment's Allan's so well. It's almost like he's playing the synth axe.
A Terrifying Kind of Beauty. I have been following him since his days with Tony. Saw him live in 1976. He was still developing his vision and sound. But even then, he was astonishing. However, I now think that it is his *mind* that is even more astonishing than his playing and songwriting. After all these years, I still I don't see how it is possible to even *think* the way he did.
Possibly the most accurate comment ever given about Allan, no one can think like that
@@HariKrishnan-wi4ls I must agree. A terrifying kind of beauty. My God how perfect.
And then I listen to his more simple 1min solo called prelude. .........and simply weep at the sad beauty of it. I ask myself the very same question. What was going on inside the man. The choice of notes is overwhelming at times.
It's one thing to execute the playing, but the initial conceptualization is the ultimate gift from God...
I absolutely love this song, this version, and the master -- A.H.
I like the synth sound in the original, but this one is more exciting.
+Chestnut Bowl
This tone does it for me.
I don't think anyone will come anywhere near this guy again, unless of course they're a counterfeit of him.
The solo is absolutely the greatest,even better than the original song.Holdsworth is gifted,to say the least
Hard to imagine this vid only getting 24K views. Half of those are probably mine
This is the kind of thing we'll remember HIM for.
Legendary guitarist
DAM!what an intro!
Joyce Sweeting I was immediately sold on this version because of that intro
Going off the radar Al......to boldly go !!!!
This is only inhumanly possible
He's Allan, period.
Job very well done sir! I actually think this version sounds much better than the original studio recording! Allan's obviously very particular about various things which are imperceptible to the rest of us... which is probably why he always sounds as good as he does. I've seen him live 3 or 4 times & it's never been anything short of awesome. So, many thanks again Chris!
Maestro. Thank You.
RIP
otherworld... amazing.... but emotional... incredible
Fuck man! There are a number of vids of brave souls attempting to rip through the head of this tune and my heart goes out to them but no can really get through it cleanly. Allan just smokes it. Every note in those runs is crisp.
From 1:31 to 1:36
The HELL in 5 seconds 🙃
Christian wall decor: John 3:16
God's wall decor: Allan 2:08
Jajajaja
Holdsworth was human scripture...
The best forever!
the master !
Sweet baby Jesus!
For anyone into live Jazz, Blues, Rock, Fusion, Steve Hunt gigs in/around the Boston area with a variety of different cats. On Friday, June 22, he'll be at Ryles Jazz Club with Sal DiFusco Project again.
/watch?v=tfJKkXlVvuw&fmt=18
/watch?v=tEz4FWne6CA&fmt=18
/watch?v=612q-S3fSs0&fmt=18
Is there a great Allan Holdsworth recording where he has a great fat warm rich tone on his guitar? What would you recommend please?
. ...extra....merci...:)....
This was sped up even more than the original. How the hell did Alan play it this clean well above the album track tempo when most holdworthian players struggle to get this close to the album tempo? Mine boggling to say the least
This album needs remastering and the guitar brought more forward.
Steve Hunt is an incredible musician, but even at his level, he had to be intimidated to follow Allan's solo during this performance.
I’d love to be able to learn part of the solo Allan so deftly performed here, but I don’t have enough life left.
I'm sorry to hear that
Brown paper packages tied full of strings.
allan said watching derryl gabel was like looking in a mirror, so certainly a duplicate of him.
Guess it is possible to be as good as Allan Holdsworth because Derryl is as good as him!
Michael Williams, no he isn't, no one is!
Derryl can copy a lot of stuff that Allan IMPROVISED! That is a very BIG difference!
Also Allan's compositions are very unique.
So, don't compare players who can get close to his level of technique to Allan who had the ability to improvise these out of the world lines in a live situation!
No one comes even close!
@@MrPyroguru one thing is that Derryl can deploy the same elements as Allan into a solo, but Holdsworth invented them and what he did with the elements is more important that he deployed them altogether, i have never heard Derryl come close to Allan when it comes to real-time composing a beautiful and musical solo. Plus Holdsworth is also a notch above him technically and as a composer. Its easier to duplicate someone then to actually come up with something yourself.
@@MrPyroguru never! :) hahaha
1:31-1:34??????!!!!!!!
yes
What a roast!
I could.....copy this
There are certainly great artists in existence but true greatness spawns from original ideas, yet its effect on others is a posteriori
It's simply easier to amass knowledge after a trailblazer has lit the path for everybody else. I generally don't listen to clones or players who intrinsically lack personal narrative in their playing.
My favorite live Allan solo, but probably my favorite solo by him, period. And there are a lot to choose from! I transcribed this beast and it looks pretty ugly on paper. 2:08 to 2:21 is PURE DAMN EVIL.
I don't know how veracious this story is but I agree the playing is wild, although pretty low fi.
Yes, I don't understand the point of his work. I personally find direct reproduction not only useless, but harmful, because it encourages easy access to codified tricks. The basic premise of playing an instrument is to create with it.
And I think you meant flagrant.
that's why derryl's an illustrious teacher, not an artist lol
He doesn't play like this anymore.
Well now is a fact..
Gonzales damn