John Stevens: Difference between revisions

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All the albums feature spontaneous collective improvisation.
All the albums feature spontaneous collective improvisation.
=John Stevens=
There was an unauthorized release of a live radio broadcast that was never intended to be a record. Despite its original purpose as a broadcast, it was turned into a record without authorization.
Holdsworth mentioned recording an album as a group with John Stevens, Jeff Kline, and Jeff Young. While the group members themselves didn't consider the recording to be very good, it was initially agreed to use certain tracks from the session.
The frustration arose when someone took not only the agreed-upon tracks but also everything else recorded that day, including material that no one wanted to release. This unauthorized release, titled "Touching On," ultimately carried Holdsworth's name on the album cover, even though it started as a group effort.
Holdsworth expressed frustration and concern about unauthorized releases, especially when dealing with smaller, less financially powerful artists. These releases can undermine artists' control over their work and lead to financial losses.
Holdsworth mentioned John Stevens in a critical light, indicating that he felt Stevens acted unethically by licensing and releasing material without proper consultation or agreement from the musicians involved.


=Quotes on John Stevens=
=Quotes on John Stevens=
==[[Creating Imaginary Backdrops (Innerviews 1993)]]==
==[[Creating Imaginary Backdrops (Innerviews 1993)]]==


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==[[No Secrets (Facelift 1994)]]==
==[[No Secrets (Facelift 1994)]]==
It has always struck me as astonishing that Holdsworth’s work with UK, a real prototype supergroup of the Asia variety, could exist so closely chronologically alongside the John '''Stevens''' albums involving him from the same era. The records which appeared under John '''Stevens'''’ name (‘Touching On’ and ‘Retouch’) are challenging, unstructured blurs of instrumentation, but for all that, not without appeal. But, when I asked Allan about what he could remember about the free work with '''Stevens''', he had this to say:
It has always struck me as astonishing that Holdsworth’s work with UK, a real prototype supergroup of the Asia variety, could exist so closely chronologically alongside the John '''Stevens''' albums involving him from the same era. The records which appeared under John '''Stevens'''’ name (‘Touching On’ and ‘Retouch’) are challenging, unstructured blurs of instrumentation, but for all that, not without appeal. But, when I asked Allan about what he could remember about the free work with '''Stevens''', he had this to say:


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