The Reluctant Guitarist (Jazz Journal 1992): Difference between revisions
From Allan Holdsworth Information Center
Created page with "The reluctant guitarist Jazz Journal, May 1992 Mark Gilbert Since he came on to the London scene in the early seventies, Allan Holdsworth has joined the small band of elect..." |
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The reluctant guitarist | '''''Summary''': Allan Holdsworth, a renowned and innovative guitarist, remains modest about his exceptional skills. Born in 1946 in Bradford, he was adopted by his grandparents, and his grandfather, Sam Holdsworth, played a pivotal role in his musical development. He developed a passion for complex harmony inspired by classical composers like Bartok, Debussy, and Ravel. Holdsworth's unique guitar technique involves light strings, hammer-on legato, and polytonal improvisation. He embraces the role of the guitar as a source of melody and harmony and often uses the Synthaxe for horn-like expression. Despite challenges, he continues to push musical boundaries with his exceptional band.'' ''[This summary was written by ChatGPT in 2023 based on the article text below.]'' | ||
[[File:Tie.jpg|right|400px]] | |||
== The reluctant guitarist == | |||
Jazz Journal, May 1992 | Jazz Journal, May 1992 | ||
Mark Gilbert | Mark Gilbert | ||
Photo by Derick A. Thomas | |||
Since he came on to the London scene in the early seventies, Allan Holdsworth has joined the small band of electric guitarists - among them Charlie Christian and Jimi Hendrix - who have radically redefined the character of their instrument and vastly expanded its expressive potential. In a period when the guitar enjoyed unprecedented popularity and produced a correspondingly large number of anonymous exponents, Holdsworth found a way, albeit unconsciously, of leaving an indelible personal stamp on the instrument. | Since he came on to the London scene in the early seventies, Allan Holdsworth has joined the small band of electric guitarists - among them Charlie Christian and Jimi Hendrix - who have radically redefined the character of their instrument and vastly expanded its expressive potential. In a period when the guitar enjoyed unprecedented popularity and produced a correspondingly large number of anonymous exponents, Holdsworth found a way, albeit unconsciously, of leaving an indelible personal stamp on the instrument. | ||
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'Because I've been doing it for a long time, I realise that the music I play can't be taken any further in terms of audience. We'll never get any more people than we've got already, so I have to be prepared to do this continuously, knowing that nothing can improve really. We're at the mercy of the record company and the radio station. But in a way it doesn't matter whether there's a new album out 'cause people come and see the guys play; they just want to see people play, which is great.' | 'Because I've been doing it for a long time, I realise that the music I play can't be taken any further in terms of audience. We'll never get any more people than we've got already, so I have to be prepared to do this continuously, knowing that nothing can improve really. We're at the mercy of the record company and the radio station. But in a way it doesn't matter whether there's a new album out 'cause people come and see the guys play; they just want to see people play, which is great.' | ||
https://jazzjournal.co.uk/2022/05/31/jj-05-92-allan-holdsworth-the-reluctant-guitarist-in-conversation-with-mark-gilbert/ | |||
