Comments on the Wikipedia article - Revision history

Per at 17:30, 23 June 2024

2024-06-23T17:30:35Z

Per at 17:22, 23 June 2024

2024-06-23T17:22:37Z

← Older revision		Revision as of 17:22, 23 June 2024
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	'''Allan Holdsworth (6 August 1946 – 15 April 2017)[1] was a British jazz fusion and progressive rock guitarist, violinist and composer.'''		Wikipedia: '''Allan Holdsworth (6 August 1946 – 15 April 2017)[1] was a British jazz fusion and progressive rock guitarist, violinist and composer.'''

	It is objectively true that Allan was a guitarist, violinist and composer. The violin playing was a side project, however. Allan's last known public performance on the violin was on "Temporary Fault" from the I.O.U. album. Describing him as a jazz fusion and progressive rock guitarist is a subjective statement though. While it is true that many applied the label to him, Allan never described his own music as either "jazz fusion" or "progressive rock". He actively objected to the term fusion. For example, he told Anil Prasad in 1993:		It is objectively true that Allan was a guitarist, violinist and composer. The violin playing was a side project, however. Allan's last known public performance on the violin was on "Temporary Fault" from the I.O.U. album. Describing him as a jazz fusion and progressive rock guitarist is a subjective statement though. While it is true that many applied the label to him, Allan never described his own music as either "jazz fusion" or "progressive rock". He actively objected to the term fusion. For example, he told Anil Prasad in 1993:
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	As for calling Holdsworth a progressive rock guitarist, some of the same applies. It is true that Holdsworth played in a few bands that could easily be labeled "progressive rock" (most notably perhaps with U.K.), and played on several records in the genre, he himself never described his playing that way. Since 1982, Allan's main body of work was as a solo artist, and this only had a superficial resemblance to progressive rock. This writer thinks simply saying "jazzrock" would be a more apt description.		As for calling Holdsworth a progressive rock guitarist, some of the same applies. It is true that Holdsworth played in a few bands that could easily be labeled "progressive rock" (most notably perhaps with U.K.), and played on several records in the genre, he himself never described his playing that way. Since 1982, Allan's main body of work was as a solo artist, and this only had a superficial resemblance to progressive rock. This writer thinks simply saying "jazzrock" would be a more apt description.

	'''Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.'''		Wikipedia: '''Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.'''

	This paragraph really is a mess. For an encyclopedic entry, it would perhaps be best to separate between what could be inferred from Allan's own description of his playing in contrast with external descriptions of it. From Allan's own perspective, he did not describe his music in traditional terms. Instead, he worked out his own system. He did recognize basic terms such as major and minor chords and scales, but beyond that, he hever used standard terms. Neither did he ever learn reading music beyond a very basic level. A primary influence seems to have been Slonimsky's Thesaurus. Bill Bruford said "He worked like a dog on Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns." (Guitar Player 2008). Allan himself said:		This paragraph really is a mess. For an encyclopedic entry, it would perhaps be best to separate between what could be inferred from Allan's own description of his playing in contrast with external descriptions of it. From Allan's own perspective, he did not describe his music in traditional terms. Instead, he worked out his own system. He did recognize basic terms such as major and minor chords and scales, but beyond that, he hever used standard terms. Neither did he ever learn reading music beyond a very basic level. A primary influence seems to have been Slonimsky's Thesaurus. Bill Bruford said "He worked like a dog on Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns." (Guitar Player 2008). Allan himself said:
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	Furthermore, it is true that his primary influence was the saxophone. However, the statement that the SynthAxe was an "early form of guitar synthesizer" is wrong. The SynthAxe was NOT a guitar synthesizer. Instead it was a guitar-like MIDI controller that did not output any sound at all beyond MIDI data.		Furthermore, it is true that his primary influence was the saxophone. However, the statement that the SynthAxe was an "early form of guitar synthesizer" is wrong. The SynthAxe was NOT a guitar synthesizer. Instead it was a guitar-like MIDI controller that did not output any sound at all beyond MIDI data.

	'''Holdsworth has been cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] Fredrik Thordendal,[13] Daniel Mongrain,[14] John Frusciante,[15] and Tom Morello.[16] Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet",[17] while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."[18]'''		Wikipedia: '''Holdsworth has been cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] Fredrik Thordendal,[13] Daniel Mongrain,[14] John Frusciante,[15] and Tom Morello.[16] Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet",[17] while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."[18]'''

	This section is factually correct, but sadly, it also displays a problem: All the people listed are guitar players.		This section is factually correct, but sadly, it also displays a problem: All the people listed are guitar players.

Per at 16:29, 12 November 2023

2023-11-12T16:29:31Z

← Older revision		Revision as of 16:29, 12 November 2023
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	This section is factually correct, but sadly, it also displays a problem: All the people listed are guitar players.		This section is factually correct, but sadly, it also displays a problem: All the people listed are guitar players.

	'''Early life		'''
			== Early life ==

	Holdsworth was born in Bradford, where he was raised by his maternal grandparents, Sam and Elsie Holdsworth.[19] Sam Holdsworth was a jazz pianist who had previously moved to London to pursue a career in music, but had eventually returned to Bradford.[20] Holdsworth was given his first guitar at the age of 17 and received his initial music tuition from his grandfather. His professional career began when he joined the Glen South Band, which performed on the Mecca club circuit across Northern England.'''		Holdsworth was born in Bradford, where he was raised by his maternal grandparents, Sam and Elsie Holdsworth.[19] Sam Holdsworth was a jazz pianist who had previously moved to London to pursue a career in music, but had eventually returned to Bradford.[20] Holdsworth was given his first guitar at the age of 17 and received his initial music tuition from his grandfather. His professional career began when he joined the Glen South Band, which performed on the Mecca club circuit across Northern England.'''

	Recording career
	Early career and 1970s		== Recording career ==


			== Early career and 1970s ==


	'''Holdsworth first recorded in 1969 with the band 'Igginbottom on their lone release, 'Igginbottom's Wrench (later reissued under the group name of "Allan Holdsworth & Friends"). In 1971 he joined Sunship, an improvisational band featuring keyboardist Alan Gowen, future King Crimson percussionist Jamie Muir and bassist Laurie Baker. They played live but never released any recorded material.[21] Next came a brief stint with jazz rock band Nucleus, with whom Holdsworth played on their 1972 album, Belladonna; likewise with progressive rock band Tempest, on their self-titled first studio album in 1973.[22] His playing can also be heard on a live BBC Radio concert from that year, which was released several decades later in 2005 as part of Under the Blossom: The Anthology, a Tempest compilation album most notable for the song "Gorgon". There has been an urban myth, propagated in part by the singer Donovan, that Holdsworth played the fuzztone solo on Donovan's 1968 hit "Hurdy Gurdy Man", but the solo was actually played by Alan Parker.[23][24]'''		'''Holdsworth first recorded in 1969 with the band 'Igginbottom on their lone release, 'Igginbottom's Wrench (later reissued under the group name of "Allan Holdsworth & Friends"). In 1971 he joined Sunship, an improvisational band featuring keyboardist Alan Gowen, future King Crimson percussionist Jamie Muir and bassist Laurie Baker. They played live but never released any recorded material.[21] Next came a brief stint with jazz rock band Nucleus, with whom Holdsworth played on their 1972 album, Belladonna; likewise with progressive rock band Tempest, on their self-titled first studio album in 1973.[22] His playing can also be heard on a live BBC Radio concert from that year, which was released several decades later in 2005 as part of Under the Blossom: The Anthology, a Tempest compilation album most notable for the song "Gorgon". There has been an urban myth, propagated in part by the singer Donovan, that Holdsworth played the fuzztone solo on Donovan's 1968 hit "Hurdy Gurdy Man", but the solo was actually played by Alan Parker.[23][24]'''
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	'''Whilst U.K. continued with different musicians, Bruford returned to the core line-up of his solo band now simply named Bruford, with Holdsworth retained as guitarist. Their second album, One of a Kind, was released in 1979 and featured extensive contributions by Holdsworth, but by this point he wished to pursue his own musical aspirations and soon left the group, albeit with some reluctance.[21][27]		'''Whilst U.K. continued with different musicians, Bruford returned to the core line-up of his solo band now simply named Bruford, with Holdsworth retained as guitarist. Their second album, One of a Kind, was released in 1979 and featured extensive contributions by Holdsworth, but by this point he wished to pursue his own musical aspirations and soon left the group, albeit with some reluctance.[21][27]
	'''		'''
	1980s
			== 1980s ==

	Holdsworth's first significant collaboration was with jazz pianist Gordon Beck on the latter's Sunbird album in 1979. Their first collaborative release The Things You See followed in 1980, and was a largely similar effort but without percussion or bass. Soon afterwards, Holdsworth joined up with drummer Gary Husband and bassist Paul Carmichael in a trio that became known as False Alarm. This was Holdsworth's first outing as a bandleader and, after the acquisition of former Tempest singer Paul Williams, the band was renamed I.O.U. Their self-titled debut album was released independently in 1982, followed by a mainstream reissue through Enigma Records in 1985.[28]		Holdsworth's first significant collaboration was with jazz pianist Gordon Beck on the latter's Sunbird album in 1979. Their first collaborative release The Things You See followed in 1980, and was a largely similar effort but without percussion or bass. Soon afterwards, Holdsworth joined up with drummer Gary Husband and bassist Paul Carmichael in a trio that became known as False Alarm. This was Holdsworth's first outing as a bandleader and, after the acquisition of former Tempest singer Paul Williams, the band was renamed I.O.U. Their self-titled debut album was released independently in 1982, followed by a mainstream reissue through Enigma Records in 1985.[28]

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	In the late 1980s, Holdsworth set up his own recording studio named The Brewery in North County, San Diego, which would become one of the main recording locations for all of his studio albums beginning with Secrets in 1989, and throughout the 1990s. In a 2005 interview, he stated that he no longer owned the studio following his divorce in 1999.[22][25][30] Secrets introduced pianist Steve Hunt, who went on to play keyboard as a member of Holdsworth's touring band, and for two further albums.[32]		In the late 1980s, Holdsworth set up his own recording studio named The Brewery in North County, San Diego, which would become one of the main recording locations for all of his studio albums beginning with Secrets in 1989, and throughout the 1990s. In a 2005 interview, he stated that he no longer owned the studio following his divorce in 1999.[22][25][30] Secrets introduced pianist Steve Hunt, who went on to play keyboard as a member of Holdsworth's touring band, and for two further albums.[32]

	1990s
			== 1990s ==

	A collaboration in 1990 with fusion guitarist Frank Gambale came about in the form of Truth in Shredding, an ambitious collaborative project put together by Mark Varney (brother of Shrapnel Records founder Mike Varney) through his Legato Records label.[33] In December of that year, following the death of Level 42 guitarist Alan Murphy in 1989, Holdsworth was recruited by the band to play as a guest musician during a series of concerts at London's Hammersmith Odeon. With former I.O.U. partner Gary Husband now being the drummer for Level 42, these circumstances all led to Holdsworth contributing guitar work on five tracks for their 1991 album, Guaranteed.[34] Holdsworth would also play on Chad Wackerman's first two studio albums, Forty Reasons (1991) and The View (1993).[35]		A collaboration in 1990 with fusion guitarist Frank Gambale came about in the form of Truth in Shredding, an ambitious collaborative project put together by Mark Varney (brother of Shrapnel Records founder Mike Varney) through his Legato Records label.[33] In December of that year, following the death of Level 42 guitarist Alan Murphy in 1989, Holdsworth was recruited by the band to play as a guest musician during a series of concerts at London's Hammersmith Odeon. With former I.O.U. partner Gary Husband now being the drummer for Level 42, these circumstances all led to Holdsworth contributing guitar work on five tracks for their 1991 album, Guaranteed.[34] Holdsworth would also play on Chad Wackerman's first two studio albums, Forty Reasons (1991) and The View (1993).[35]

	Holdsworth's first solo album of the decade was 1992's Wardenclyffe Tower, which continued to feature the SynthAxe but also displayed his newfound interest in self-designed baritone guitars built by luthier Bill DeLap.[36] With the 1994 release of Hard Hat Area, Holdsworth's touring band for that and the following year was composed of Steve Hunt, Husband and bassist Skúli Sverrisson. A collaboration in 1996 with brothers Anders and Jens Johansson resulted in Heavy Machinery, an album with more hard-edged playing from Holdsworth than was usual. In the same year, he was once again joined by Gordon Beck on None Too Soon, which comprised interpretations of some of Holdsworth's favourite jazz standards.[37]		Holdsworth's first solo album of the decade was 1992's Wardenclyffe Tower, which continued to feature the SynthAxe but also displayed his newfound interest in self-designed baritone guitars built by luthier Bill DeLap.[36] With the 1994 release of Hard Hat Area, Holdsworth's touring band for that and the following year was composed of Steve Hunt, Husband and bassist Skúli Sverrisson. A collaboration in 1996 with brothers Anders and Jens Johansson resulted in Heavy Machinery, an album with more hard-edged playing from Holdsworth than was usual. In the same year, he was once again joined by Gordon Beck on None Too Soon, which comprised interpretations of some of Holdsworth's favourite jazz standards.[37]

	2000s–2017
			== 2000s–2017 ==


	Holdsworth, Chad Wackerman (centre) and Jimmy Johnson (right) in Huntington Beach, 2006		Holdsworth, Chad Wackerman (centre) and Jimmy Johnson (right) in Huntington Beach, 2006
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	On 7 April 2017, Manifesto records released the box set The Man Who Changed Guitar Forever! The Allan Holdsworth Album Collection, which comprises remastered versions of 12 of Allan's solo albums.[45] These 12 albums also have been released in a vinyl box set under the name The Allan Holdsworth Solo Album Collection, marking the first time many of these albums have been available on vinyl.[46] At the same time, Manifesto also released the 2-CD compilation Eidolon, which features tracks selected by Holdsworth himself.[47] Holdsworth was able to promote these albums briefly, as he died only a week later from high blood pressure.[48] According to The Guardian, he played his final gig in San Diego on 10 April 2017.[49]		On 7 April 2017, Manifesto records released the box set The Man Who Changed Guitar Forever! The Allan Holdsworth Album Collection, which comprises remastered versions of 12 of Allan's solo albums.[45] These 12 albums also have been released in a vinyl box set under the name The Allan Holdsworth Solo Album Collection, marking the first time many of these albums have been available on vinyl.[46] At the same time, Manifesto also released the 2-CD compilation Eidolon, which features tracks selected by Holdsworth himself.[47] Holdsworth was able to promote these albums briefly, as he died only a week later from high blood pressure.[48] According to The Guardian, he played his final gig in San Diego on 10 April 2017.[49]

	Posthumous releases
			== Posthumous releases ==

	Manifesto Records has released six posthumous albums as of 2022. All are archival live recordings sourced from jazz festivals or state broadcasters. Live in Japan 1984, released in 2018, is the first authorized release of the widely bootlegged "Tokyo Dream" laserdisc, with a limited edition bonus DVD. "Warsaw Summer Jazz Days '98", released in 2019, contains a CD and DVD of a concert that was originally broadcast on Polish TV. 2020 saw the release of "Frankfurt '86", a CD and DVD of Holdsworth's 1986 appearance at the Deutsches Jazz Festival.[50] In 2021 two different concert recordings from Holdsworth's appearances at the Leverkusen Jazz Festival were released, the first from 1997 and the second from 2010. In 2022 Holdsworth's 2014 appearance at the Jarasum International Jazz Festival in Korea was released.		Manifesto Records has released six posthumous albums as of 2022. All are archival live recordings sourced from jazz festivals or state broadcasters. Live in Japan 1984, released in 2018, is the first authorized release of the widely bootlegged "Tokyo Dream" laserdisc, with a limited edition bonus DVD. "Warsaw Summer Jazz Days '98", released in 2019, contains a CD and DVD of a concert that was originally broadcast on Polish TV. 2020 saw the release of "Frankfurt '86", a CD and DVD of Holdsworth's 1986 appearance at the Deutsches Jazz Festival.[50] In 2021 two different concert recordings from Holdsworth's appearances at the Leverkusen Jazz Festival were released, the first from 1997 and the second from 2010. In 2022 Holdsworth's 2014 appearance at the Jarasum International Jazz Festival in Korea was released.

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	Another of his most identifiable traits was the use of rich, fingerpicked chords (often awash with delay, chorus and other complex effects), which were articulated and sustained using volume swells to create sounds reminiscent of the horn and saxophone.[56] He said that he preferred both of these instruments to the guitar, the latter of which was not his first choice of instrument upon receiving one from his father when beginning to play music.[57][58][59] It was because of this unfamiliarity with the guitar, combined with attempting to make it sound more like a saxophone, that he originally began to use legato without realising that it was not a common method of playing at the time.[36] Furthermore, he was influenced greatly by such saxophonists as John Coltrane, Cannonball Adderley, Michael Brecker and Charlie Parker,[59][60][61] while some of his favourite guitarists were Django Reinhardt, Joe Pass, Wes Montgomery, Jimmy Raney, Charlie Christian and Hank Marvin.[58][61]		Another of his most identifiable traits was the use of rich, fingerpicked chords (often awash with delay, chorus and other complex effects), which were articulated and sustained using volume swells to create sounds reminiscent of the horn and saxophone.[56] He said that he preferred both of these instruments to the guitar, the latter of which was not his first choice of instrument upon receiving one from his father when beginning to play music.[57][58][59] It was because of this unfamiliarity with the guitar, combined with attempting to make it sound more like a saxophone, that he originally began to use legato without realising that it was not a common method of playing at the time.[36] Furthermore, he was influenced greatly by such saxophonists as John Coltrane, Cannonball Adderley, Michael Brecker and Charlie Parker,[59][60][61] while some of his favourite guitarists were Django Reinhardt, Joe Pass, Wes Montgomery, Jimmy Raney, Charlie Christian and Hank Marvin.[58][61]

	Influence and reception
			== Influence and reception ==

	Holdsworth was highly influential among advanced guitarists and was considered one of the most technically accomplished and most unusual players. According to Guitar World magazine he is "as influential as Chuck Berry, Jimi Hendrix and Eddie Van Halen".[62] Van Halen, Frank Zappa, Shawn Lane, Steve Vai,[63] John Petrucci,[64] Neal Schon and Gary Moore have proclaimed Holdsworth one of the most advanced guitarists of his time.[62]		Holdsworth was highly influential among advanced guitarists and was considered one of the most technically accomplished and most unusual players. According to Guitar World magazine he is "as influential as Chuck Berry, Jimi Hendrix and Eddie Van Halen".[62] Van Halen, Frank Zappa, Shawn Lane, Steve Vai,[63] John Petrucci,[64] Neal Schon and Gary Moore have proclaimed Holdsworth one of the most advanced guitarists of his time.[62]

Per at 16:28, 12 November 2023

2023-11-12T16:28:03Z

← Older revision		Revision as of 16:28, 12 November 2023
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	'''Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.'''		'''Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.'''

	This paragraph really is a mess. For an encyclopedic entry, it would perhaps be best to separate between what could be inferred from Allan's own description of his playing in contrast with external descriptions of it. From Allan's own perspective, he did not describe his music in traditional terms. Instead, he worked out his own system. A primary influence seems to have been Slonimsky's Thesaurus. Bill Bruford said "He worked like a dog on Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns." (Guitar Player 2008). Allan himself said:		This paragraph really is a mess. For an encyclopedic entry, it would perhaps be best to separate between what could be inferred from Allan's own description of his playing in contrast with external descriptions of it. From Allan's own perspective, he did not describe his music in traditional terms. Instead, he worked out his own system. He did recognize basic terms such as major and minor chords and scales, but beyond that, he hever used standard terms. Neither did he ever learn reading music beyond a very basic level. A primary influence seems to have been Slonimsky's Thesaurus. Bill Bruford said "He worked like a dog on Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns." (Guitar Player 2008). Allan himself said:

	"Nicolas Slonimsky's 'Thesaurus of Scales and Melodic Patterns', for example. It was harder for me to go to that than it might have been for some other guys, but at least it was written enharmonically - not written in any key - and all the accidentals are added. " (Guitarist 1987)		"Nicolas Slonimsky's 'Thesaurus of Scales and Melodic Patterns', for example. It was harder for me to go to that than it might have been for some other guys, but at least it was written enharmonically - not written in any key - and all the accidentals are added. " (Guitarist 1987)
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	Allan describes in several interviews as well as on his instructional video that he went through the construction of scales, in particular analyzing them in terms of their interval structure. He then worked out which scales he liked the most. But he never referred to them by their common name. And he never referred to them in terms of modes either. For example, he would never use the term "Lydian". On numerous occasions, he would point out that all the modes were just permutations of a regular major scale, and he would consider them as such. For example he told Guitar Player in 1993:		Allan describes in several interviews as well as on his instructional video that he went through the construction of scales, in particular analyzing them in terms of their interval structure. He then worked out which scales he liked the most. But he never referred to them by their common name. And he never referred to them in terms of modes either. For example, he would never use the term "Lydian". On numerous occasions, he would point out that all the modes were just permutations of a regular major scale, and he would consider them as such. For example he told Guitar Player in 1993:

	"There are things I work out away from the guitar, like various scales. I’m not concerned with modes, rather the permutation of intervals that differentiate one scale from another. I never think of a scale as having a set bottom or top. To me, it goes from the lowest available note to the highest on the instrument itself.		"There are things I work out away from the guitar, like various scales. I’m not concerned with modes, rather the permutation of intervals that differentiate one scale from another. I never think of a scale as having a set bottom or top. To me, it goes from the lowest available note to the highest on the instrument itself."

			His harmony was an extension of his studies of scales. As he told Guitar Extra in 1992:

			''Q: Was this done at the same time as learning about conventional major and minor scales?
			''

			''Allan: No, obviously this came after that, but what I knew was inadequate, and I couldn't play over certain chords, because I didn't know what scales to use. I knew if I did this, I'd have them, and then I could use my ears to guide me as to how I wanted to use them, based on what I felt musically. I cataloged them all, and I set aside all of the ones that had more than three semi-tones in a row, because they would be impractical. I finished up with this huge ream of stuff that I needed to learn. That stuff still applies now, I still only remember a small amount of it, but I learn more and more each time. Basically, I did the same thing with chords, I'd build chords from the scales, which is how I think of chords.''

			''Q: Were these specific things that you were thinking, "I can't play over that," or was it that you just wanted to expand your knowledge and find new chords?''

			''Allan: It was more like I wanted to find chords and voicings of chords, then I'd work on those separately from trying to figure out how to play over them. That's why, when I see a chord symbol, I sometimes don't even play a chord that might even constitute that one, I might just play some other chord that's built on the scale, because that's how I think of it. When the chords change, it's the movement, you can hear the scales change from one to the other. When I see the neck, when the chords change, it's like you can imagine a neck with LED's on it, and they're all lit up. When it gets to the next chord, all the dots change. The what I have to do is try to make a melody out of it, or make some sense out of it, or combine that with other things I want to do, like superimposing things on top of other things or whatever. Then you can play on things and add extra chords, playing something that suggests another chord between that chord.''

			Summing up, he arrived at his chords by testing out combinations of notes from the scales he worked on.

			Furthermore, it is true that his primary influence was the saxophone. However, the statement that the SynthAxe was an "early form of guitar synthesizer" is wrong. The SynthAxe was NOT a guitar synthesizer. Instead it was a guitar-like MIDI controller that did not output any sound at all beyond MIDI data.

	'''Holdsworth has been cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] Fredrik Thordendal,[13] Daniel Mongrain,[14] John Frusciante,[15] and Tom Morello.[16] Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet",[17] while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."[18]'''		'''Holdsworth has been cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] Fredrik Thordendal,[13] Daniel Mongrain,[14] John Frusciante,[15] and Tom Morello.[16] Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet",[17] while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."[18]'''

			This section is factually correct, but sadly, it also displays a problem: All the people listed are guitar players.

	'''Early life		'''Early life

Per at 16:10, 12 November 2023

2023-11-12T16:10:53Z

← Older revision		Revision as of 16:10, 12 November 2023
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	As for calling Holdsworth a progressive rock guitarist, some of the same applies. It is true that Holdsworth played in a few bands that could easily be labeled "progressive rock" (most notably perhaps with U.K.), and played on several records in the genre, he himself never described his playing that way. Since 1982, Allan's main body of work was as a solo artist, and this only had a superficial resemblance to progressive rock. This writer thinks simply saying "jazzrock" would be a more apt description.		As for calling Holdsworth a progressive rock guitarist, some of the same applies. It is true that Holdsworth played in a few bands that could easily be labeled "progressive rock" (most notably perhaps with U.K.), and played on several records in the genre, he himself never described his playing that way. Since 1982, Allan's main body of work was as a solo artist, and this only had a superficial resemblance to progressive rock. This writer thinks simply saying "jazzrock" would be a more apt description.

	''Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.''		'''Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.'''

	This paragraph really is a mess. For an encyclopedic entry, it would perhaps be best to separate between what could be inferred from Allan's own description of his playing in contrast with external descriptions of it. From Allan's own perspective, he did not describe his music in traditional terms. Instead, he worked out his own system. A primary influence seems to have been Slonimsky's Thesaurus. Bill Bruford said "He worked like a dog on Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns." (Guitar Player 2008). Allan himself said:		This paragraph really is a mess. For an encyclopedic entry, it would perhaps be best to separate between what could be inferred from Allan's own description of his playing in contrast with external descriptions of it. From Allan's own perspective, he did not describe his music in traditional terms. Instead, he worked out his own system. A primary influence seems to have been Slonimsky's Thesaurus. Bill Bruford said "He worked like a dog on Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns." (Guitar Player 2008). Allan himself said:
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	"There are things I work out away from the guitar, like various scales. I’m not concerned with modes, rather the permutation of intervals that differentiate one scale from another. I never think of a scale as having a set bottom or top. To me, it goes from the lowest available note to the highest on the instrument itself.		"There are things I work out away from the guitar, like various scales. I’m not concerned with modes, rather the permutation of intervals that differentiate one scale from another. I never think of a scale as having a set bottom or top. To me, it goes from the lowest available note to the highest on the instrument itself.

	Holdsworth has been cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] Fredrik Thordendal,[13] Daniel Mongrain,[14] John Frusciante,[15] and Tom Morello.[16] Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet",[17] while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."[18]		'''Holdsworth has been cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] Fredrik Thordendal,[13] Daniel Mongrain,[14] John Frusciante,[15] and Tom Morello.[16] Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet",[17] while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."[18]'''

	Early life		'''Early life
	Holdsworth was born in Bradford, where he was raised by his maternal grandparents, Sam and Elsie Holdsworth.[19] Sam Holdsworth was a jazz pianist who had previously moved to London to pursue a career in music, but had eventually returned to Bradford.[20] Holdsworth was given his first guitar at the age of 17 and received his initial music tuition from his grandfather. His professional career began when he joined the Glen South Band, which performed on the Mecca club circuit across Northern England.		Holdsworth was born in Bradford, where he was raised by his maternal grandparents, Sam and Elsie Holdsworth.[19] Sam Holdsworth was a jazz pianist who had previously moved to London to pursue a career in music, but had eventually returned to Bradford.[20] Holdsworth was given his first guitar at the age of 17 and received his initial music tuition from his grandfather. His professional career began when he joined the Glen South Band, which performed on the Mecca club circuit across Northern England.'''

	Recording career		Recording career
	Early career and 1970s		Early career and 1970s

	~~Holdsworth performing with U.K. at the Beacon Theatre, c. 1978~~		'''Holdsworth first recorded in 1969 with the band 'Igginbottom on their lone release, 'Igginbottom's Wrench (later reissued under the group name of "Allan Holdsworth & Friends"). In 1971 he joined Sunship, an improvisational band featuring keyboardist Alan Gowen, future King Crimson percussionist Jamie Muir and bassist Laurie Baker. They played live but never released any recorded material.[21] Next came a brief stint with jazz rock band Nucleus, with whom Holdsworth played on their 1972 album, Belladonna; likewise with progressive rock band Tempest, on their self-titled first studio album in 1973.[22] His playing can also be heard on a live BBC Radio concert from that year, which was released several decades later in 2005 as part of Under the Blossom: The Anthology, a Tempest compilation album most notable for the song "Gorgon". There has been an urban myth, propagated in part by the singer Donovan, that Holdsworth played the fuzztone solo on Donovan's 1968 hit "Hurdy Gurdy Man", but the solo was actually played by Alan Parker.[23][24]'''
	Holdsworth first recorded in 1969 with the band 'Igginbottom on their lone release, 'Igginbottom's Wrench (later reissued under the group name of "Allan Holdsworth & Friends"). In 1971 he joined Sunship, an improvisational band featuring keyboardist Alan Gowen, future King Crimson percussionist Jamie Muir and bassist Laurie Baker. They played live but never released any recorded material.[21] Next came a brief stint with jazz rock band Nucleus, with whom Holdsworth played on their 1972 album, Belladonna; likewise with progressive rock band Tempest, on their self-titled first studio album in 1973.[22] His playing can also be heard on a live BBC Radio concert from that year, which was released several decades later in 2005 as part of Under the Blossom: The Anthology, a Tempest compilation album most notable for the song "Gorgon". There has been an urban myth, propagated in part by the singer Donovan, that Holdsworth played the fuzztone solo on Donovan's 1968 hit "Hurdy Gurdy Man", but the solo was actually played by Alan Parker.[23][24]

	During the middle part of the decade, Holdsworth worked with various well-known progressive rock and jazz fusion artists, including Soft Machine (Bundles and Land of Cockayne), The New Tony Williams Lifetime (Believe It and Million Dollar Legs), Pierre Moerlen's Gong (Gazeuse!, Expresso II and Time is the Key), and Jean-Luc Ponty (Enigmatic Ocean), experiences he valued—especially his time spent with drummer Tony Williams.[21][22][25] In 1976 came the first of Holdsworth's many frustrations with the music industry, when CTI Records released a recording of what Holdsworth thought was a rehearsal session as an official studio album, Velvet Darkness. This angered Holdsworth, who said decades later that he still loathed the album intensely and wished it were never made public.[21]		'''During the middle part of the decade, Holdsworth worked with various well-known progressive rock and jazz fusion artists, including Soft Machine (Bundles and Land of Cockayne), The New Tony Williams Lifetime (Believe It and Million Dollar Legs), Pierre Moerlen's Gong (Gazeuse!, Expresso II and Time is the Key), and Jean-Luc Ponty (Enigmatic Ocean), experiences he valued—especially his time spent with drummer Tony Williams.[21][22][25] In 1976 came the first of Holdsworth's many frustrations with the music industry, when CTI Records released a recording of what Holdsworth thought was a rehearsal session as an official studio album, Velvet Darkness. This angered Holdsworth, who said decades later that he still loathed the album intensely and wished it were never made public.[21]'''

	In 1977, Holdsworth was recruited by drummer and Yes founder Bill Bruford to play on his debut album, Feels Good to Me (released January 1978). Shortly afterwards, Bruford formed the progressive rock supergroup U.K. with keyboardist/violinist Eddie Jobson and bassist John Wetton; Holdsworth was brought in on the recommendation of Bruford. Despite getting along well with them personally and enjoying the recording of their 1978 self-titled album, Holdsworth claims that he "detested" his time spent with the group,[26] and that it was "miserable" due to numerous musical differences whilst on tour, namely Jobson and Wetton's desire for Holdsworth to play his solos to an organised structure for each show, something to which he vehemently objected.[21][25]		'''In 1977, Holdsworth was recruited by drummer and Yes founder Bill Bruford to play on his debut album, Feels Good to Me (released January 1978). Shortly afterwards, Bruford formed the progressive rock supergroup U.K. with keyboardist/violinist Eddie Jobson and bassist John Wetton; Holdsworth was brought in on the recommendation of Bruford. Despite getting along well with them personally and enjoying the recording of their 1978 self-titled album, Holdsworth claims that he "detested" his time spent with the group,[26] and that it was "miserable" due to numerous musical differences whilst on tour, namely Jobson and Wetton's desire for Holdsworth to play his solos to an organised structure for each show, something to which he vehemently objected.[21][25]'''

	Whilst U.K. continued with different musicians, Bruford returned to the core line-up of his solo band now simply named Bruford, with Holdsworth retained as guitarist. Their second album, One of a Kind, was released in 1979 and featured extensive contributions by Holdsworth, but by this point he wished to pursue his own musical aspirations and soon left the group, albeit with some reluctance.[21][27]

			'''Whilst U.K. continued with different musicians, Bruford returned to the core line-up of his solo band now simply named Bruford, with Holdsworth retained as guitarist. Their second album, One of a Kind, was released in 1979 and featured extensive contributions by Holdsworth, but by this point he wished to pursue his own musical aspirations and soon left the group, albeit with some reluctance.[21][27]
			'''
	1980s		1980s
	Holdsworth's first significant collaboration was with jazz pianist Gordon Beck on the latter's Sunbird album in 1979. Their first collaborative release The Things You See followed in 1980, and was a largely similar effort but without percussion or bass. Soon afterwards, Holdsworth joined up with drummer Gary Husband and bassist Paul Carmichael in a trio that became known as False Alarm. This was Holdsworth's first outing as a bandleader and, after the acquisition of former Tempest singer Paul Williams, the band was renamed I.O.U. Their self-titled debut album was released independently in 1982, followed by a mainstream reissue through Enigma Records in 1985.[28]		Holdsworth's first significant collaboration was with jazz pianist Gordon Beck on the latter's Sunbird album in 1979. Their first collaborative release The Things You See followed in 1980, and was a largely similar effort but without percussion or bass. Soon afterwards, Holdsworth joined up with drummer Gary Husband and bassist Paul Carmichael in a trio that became known as False Alarm. This was Holdsworth's first outing as a bandleader and, after the acquisition of former Tempest singer Paul Williams, the band was renamed I.O.U. Their self-titled debut album was released independently in 1982, followed by a mainstream reissue through Enigma Records in 1985.[28]

Per at 16:09, 12 November 2023

2023-11-12T16:09:35Z

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	''Allan Holdsworth (6 August 1946 – 15 April 2017)[1] was a British jazz fusion and progressive rock guitarist, violinist and composer.''		'''Allan Holdsworth (6 August 1946 – 15 April 2017)[1] was a British jazz fusion and progressive rock guitarist, violinist and composer.'''

	It is objectively true that Allan was a guitarist, violinist and composer. The violin playing was a side project, however. Allan's last known public performance on the violin was on "Temporary Fault" from the I.O.U. album. Describing him as a jazz fusion and progressive rock guitarist is a subjective statement though. While it is true that many applied the label to him, Allan never described his own music as either "jazz fusion" or "progressive rock". He actively objected to the term fusion. For example, he told Anil Prasad in 1993:		It is objectively true that Allan was a guitarist, violinist and composer. The violin playing was a side project, however. Allan's last known public performance on the violin was on "Temporary Fault" from the I.O.U. album. Describing him as a jazz fusion and progressive rock guitarist is a subjective statement though. While it is true that many applied the label to him, Allan never described his own music as either "jazz fusion" or "progressive rock". He actively objected to the term fusion. For example, he told Anil Prasad in 1993:

Per at 16:09, 12 November 2023

2023-11-12T16:09:12Z

← Older revision		Revision as of 16:09, 12 November 2023
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	''Allan Holdsworth (6 August 1946 – 15 April 2017)[1] was a British jazz fusion and progressive rock guitarist, violinist and composer.''		''Allan Holdsworth (6 August 1946 – 15 April 2017)[1] was a British jazz fusion and progressive rock guitarist, violinist and composer.''

	It is objectively true that Allan was a guitarist, violinist and composer. The violin playing was a side project, however. Allan's last known public performance on the violin was on "Temporary Fault" from the I.O.U. album. Describing him as a jazz fusion and progressive rock guitarist is a subjective statement though. Allan never described his own music as either "jazz fusion" or "progressive rock". He actively objected to the term fusion. For example, he told Anil Prasad in 1993:		It is objectively true that Allan was a guitarist, violinist and composer. The violin playing was a side project, however. Allan's last known public performance on the violin was on "Temporary Fault" from the I.O.U. album. Describing him as a jazz fusion and progressive rock guitarist is a subjective statement though. While it is true that many applied the label to him, Allan never described his own music as either "jazz fusion" or "progressive rock". He actively objected to the term fusion. For example, he told Anil Prasad in 1993:

	"Fusion? Well, that's a perfectly good word, but when I think of fusion, I always think about the wrong thing. When someone says fusion, I think of what you hear in elevators now. [laughs] It used to be muzak, but now it's fuzak. GRP seems to be really commercial for me. It's really highly polished. The guys are really great players. I'm not knocking it, but it doesn't seem to be 100 percent there—the creative aspect of it."		"Fusion? Well, that's a perfectly good word, but when I think of fusion, I always think about the wrong thing. When someone says fusion, I think of what you hear in elevators now. [laughs] It used to be muzak, but now it's fuzak. GRP seems to be really commercial for me. It's really highly polished. The guys are really great players. I'm not knocking it, but it doesn't seem to be 100 percent there—the creative aspect of it."
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	"When people mention the word 'jazz' I think of it as music that's harmonic, melodic, rhythmic and a vehicle for improvisation. And that's it: it's not a particular form of music. When you mention jazz to some people they'll think of Acker Bilk and others will say Charlie Parker. Jazz is a very good word, but people have shrunk it by using it in the wrong way. It's like fusion. What I have come to know of fusion is a music that I detest, but there's nothing wrong with the word; it's a perfectly good word."		"When people mention the word 'jazz' I think of it as music that's harmonic, melodic, rhythmic and a vehicle for improvisation. And that's it: it's not a particular form of music. When you mention jazz to some people they'll think of Acker Bilk and others will say Charlie Parker. Jazz is a very good word, but people have shrunk it by using it in the wrong way. It's like fusion. What I have come to know of fusion is a music that I detest, but there's nothing wrong with the word; it's a perfectly good word."

	Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.		Further examples can be found in Sound Waves 2012.

			As for calling Holdsworth a progressive rock guitarist, some of the same applies. It is true that Holdsworth played in a few bands that could easily be labeled "progressive rock" (most notably perhaps with U.K.), and played on several records in the genre, he himself never described his playing that way. Since 1982, Allan's main body of work was as a solo artist, and this only had a superficial resemblance to progressive rock. This writer thinks simply saying "jazzrock" would be a more apt description.

			''Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.''

			This paragraph really is a mess. For an encyclopedic entry, it would perhaps be best to separate between what could be inferred from Allan's own description of his playing in contrast with external descriptions of it. From Allan's own perspective, he did not describe his music in traditional terms. Instead, he worked out his own system. A primary influence seems to have been Slonimsky's Thesaurus. Bill Bruford said "He worked like a dog on Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns." (Guitar Player 2008). Allan himself said:

			"Nicolas Slonimsky's 'Thesaurus of Scales and Melodic Patterns', for example. It was harder for me to go to that than it might have been for some other guys, but at least it was written enharmonically - not written in any key - and all the accidentals are added. " (Guitarist 1987)

			Allan describes in several interviews as well as on his instructional video that he went through the construction of scales, in particular analyzing them in terms of their interval structure. He then worked out which scales he liked the most. But he never referred to them by their common name. And he never referred to them in terms of modes either. For example, he would never use the term "Lydian". On numerous occasions, he would point out that all the modes were just permutations of a regular major scale, and he would consider them as such. For example he told Guitar Player in 1993:

			"There are things I work out away from the guitar, like various scales. I’m not concerned with modes, rather the permutation of intervals that differentiate one scale from another. I never think of a scale as having a set bottom or top. To me, it goes from the lowest available note to the highest on the instrument itself.

	Holdsworth has been cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] Fredrik Thordendal,[13] Daniel Mongrain,[14] John Frusciante,[15] and Tom Morello.[16] Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet",[17] while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."[18]		Holdsworth has been cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] Fredrik Thordendal,[13] Daniel Mongrain,[14] John Frusciante,[15] and Tom Morello.[16] Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet",[17] while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."[18]

Per at 15:45, 12 November 2023

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	"Fusion? Well, that's a perfectly good word, but when I think of fusion, I always think about the wrong thing. When someone says fusion, I think of what you hear in elevators now. [laughs] It used to be muzak, but now it's fuzak. GRP seems to be really commercial for me. It's really highly polished. The guys are really great players. I'm not knocking it, but it doesn't seem to be 100 percent there—the creative aspect of it."		"Fusion? Well, that's a perfectly good word, but when I think of fusion, I always think about the wrong thing. When someone says fusion, I think of what you hear in elevators now. [laughs] It used to be muzak, but now it's fuzak. GRP seems to be really commercial for me. It's really highly polished. The guys are really great players. I'm not knocking it, but it doesn't seem to be 100 percent there—the creative aspect of it."

			He also said to the Montreal Gazette in 2009:

			Some call it fusion, Holdsworth acknowledged, but that's not quite it. "When I hear 'fusion,' I think of Tricky-Dick stuff - really hairy melodies played in unison," he said. "It's like, 'Why?' If the whole idea, in the original bebop days, was to get to soloing, then that's all it should be about."

			And this is what he said to Guitarist in 2000:

			"When people mention the word 'jazz' I think of it as music that's harmonic, melodic, rhythmic and a vehicle for improvisation. And that's it: it's not a particular form of music. When you mention jazz to some people they'll think of Acker Bilk and others will say Charlie Parker. Jazz is a very good word, but people have shrunk it by using it in the wrong way. It's like fusion. What I have come to know of fusion is a music that I detest, but there's nothing wrong with the word; it's a perfectly good word."

	Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.		Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.

Per at 15:42, 12 November 2023

2023-11-12T15:42:48Z

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2023-11-12T15:31:05Z

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