Patron Saint (Guitar Player 2004): Difference between revisions
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2004 Nov Guitar Player (Darrin Fox) | '''''Summary''': Allan Holdsworth, a pioneering guitarist known for his unique tone and technique, mastered horn-like phrasing and tone with a variety of guitars and amps. He was critical of live recordings, preferring an intimate concert experience. Personal struggles affected his composing more than improvisation. Inspired by classical composers, he emphasized the emotional aspect of music. Holdsworth didn't pre-hear solo lines but believed in letting the music flow naturally. He didn't spend extended hours daily with the guitar but preferred short, effective practice sessions. He sought a balance between sustain and clarity, akin to horn instruments. Holdsworth believed guitarists often resist new sounds and approaches. His self-criticism balanced between driving him forward and causing frustration. He acknowledged his significant influence on modern guitar and hoped to inspire future generations. His gear included Yamaha DG80 112 amps, Yamaha UD Stomp for delays, Carvin guitars, and LaBella strings.'' ''[This summary was written by ChatGPT in 2023 based on the article text below.]'' | ||
==Patron Saint== | |||
[[File:GP2004.jpg|450px|right]]2004 Nov Guitar Player (Darrin Fox) | |||
Whether it's Charlie Christian drawing inspiration from tenor giant Lester Young, or John McLaughlin channeling the spirit of John Coltrane, guitarists of all stripes have been infatuated by the endlessly inventive improvisations and tonal complexity of modern saxophone masters. However, the guitar is obviously a lot different from a saxophone. To get anywhere near that ideal with a plank of wood and six strings is a Herculean task, because guitarists don't have the steady stream of wind that a horn player uses to nimbly deliver lines that dance across measures with an Astaire-like grace. And then there's the tone-guys like Cannonball Adderley and Charlie Parker produced some of the most expressive, organic timbres you're ever going to hear from any instrument. | Whether it's Charlie Christian drawing inspiration from tenor giant Lester Young, or John McLaughlin channeling the spirit of John Coltrane, guitarists of all stripes have been infatuated by the endlessly inventive improvisations and tonal complexity of modern saxophone masters. However, the guitar is obviously a lot different from a saxophone. To get anywhere near that ideal with a plank of wood and six strings is a Herculean task, because guitarists don't have the steady stream of wind that a horn player uses to nimbly deliver lines that dance across measures with an Astaire-like grace. And then there's the tone-guys like Cannonball Adderley and Charlie Parker produced some of the most expressive, organic timbres you're ever going to hear from any instrument. | ||
