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'' | '''''Summary of interview in English''': Allan Holdsworth talks about his plans to record a new album but mentions the challenge of securing a record contract for his unique style of music. He discusses the musicians he's collaborating with on the new record, including Gary Novak on drums, Dave Carpenter on bass, and himself. He also mentions guest appearances by Alan Pasqua and Walt Fowler. Holdsworth explains that his choice of musicians has evolved over the years due to the challenges of touring and expenses associated with certain lineups. He mentions the difficulties of finding a record label to release his music, especially in the United States, and expresses frustration with bootleg releases. | ||
''The interview touches on various aspects of Holdsworth's musical journey, including his early experiences with different instruments, his transition to the guitar, and his exploration of the SynthAxe. Holdsworth talks about his influences, including classical composers like Bach, Debussy, Ravel, Bartok, and Stravinsky. He reflects on his father's influence on his musical upbringing and early experiences working odd jobs to make a living as a musician.'' | |||
''Holdsworth discusses his move to the United States in 1982 and the challenges he faced in England as an unemployed musician. He mentions his connections with Eddie Van Halen and his decision not to pursue a major record label contract that would restrict his musical freedom. The interview concludes with a discussion of the categorization of music into genres and Holdsworth's approach to harmony.'' ''[This summary was written by ChatGPT in 2023 based on the article text below.]'' | |||
'' | |||
=Mistrzowie Gitary= | |||
__FORCETOC__[[File:Gib98-a.JPG|450px|right]]Z gitarzysto rozmawia Piotr Nowicki | __FORCETOC__[[File:Gib98-a.JPG|450px|right]]Z gitarzysto rozmawia Piotr Nowicki | ||
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(Due to the extensive material, we have decided to present Allan Holdsworth's profile in two parts. In this section, we are publishing an interview conducted last autumn. In the next issue, we will discuss his extensive discography, equipment, and interesting facts from his biography.) | (Due to the extensive material, we have decided to present Allan Holdsworth's profile in two parts. In this section, we are publishing an interview conducted last autumn. In the next issue, we will discuss his extensive discography, equipment, and interesting facts from his biography.) | ||
COLTRANE OF GUITAR | ===COLTRANE OF GUITAR=== | ||
Allan Holdsworth's name is mainly associated with the band U.K. Some guitar fans remember him from albums by Tony Williams, Jean Luc Ponty, GONG, and SOFT MACHINE. He's often called the Coltrane of the guitar, although such labels don't mean much to him personally. Masters like Van Halen, Zappa, Santana, and Joe Zawinul regard him as one of the greatest guitarists of all time, yet he remains in the shadows. He is known, especially in our circles, to a narrow audience, although more and more people are discovering the charm of his challenging but very interesting and original music. Musicians appreciate him for his creativity and attitude - he is perpetually dissatisfied with what he played in the past, always seeking something new. He defined modern legato playing on the guitar and is a master of tremolo use. He perfected the use of the SynthAxe, an instrument designed to bring sound synthesis into the realm of the guitar. Thanks to his unconventional approach to harmony and the development of his own theory of scales based on mathematical permutations of intervals, he became one of the few guitar innovators. He possesses a technique that still impresses to this day. As Eddie Van Halen once said, "What I do on the neck with both hands, he does with one." He can be appreciated not only for intellectualism and a conceptual approach to the instrument but also for the emotions expressed in his harmonies and dramatic solos, where solo lines are always a pretext to showcase harmonic structures. His phrasing is an unparalleled model. Listening to him demands dedication and concentration. His albums are sometimes uneven, but that's the result of constant exploration. This artist never rests on his laurels, which is why buying one of his albums after a few years may lead to a completely different musical experience. He has a large and devoted fan base scattered around the world. Every self-respecting guitarist sooner or later comes across his records. He's not the idol type; he doesn't play on heavily advertised super-guitars (although you could see him on advertising pages recently), he doesn't have a record contract, and he doesn't like it when someone tells him what to play. Perhaps by working with good producers, he would record entirely different, maybe better, perhaps more palatable albums for a broader audience. However, he doesn't trust anyone; he composes, records, produces, and mixes his own albums, wanting complete control over the music he releases under his name. Hence, he despises bootlegs. He also dislikes critics, the showbiz, and discussions about music, which he claims you either play or listen to. You won't find his music on radio stations, simply because it can't be unequivocally classified as jazz or rock, and the word "fusion" is already outdated. In his sounds, you can find impressionism reminiscent of classical music, elements of jazz improvisation, rock expression, and progressive coolness. | Allan Holdsworth's name is mainly associated with the band U.K. Some guitar fans remember him from albums by Tony Williams, Jean Luc Ponty, GONG, and SOFT MACHINE. He's often called the Coltrane of the guitar, although such labels don't mean much to him personally. Masters like Van Halen, Zappa, Santana, and Joe Zawinul regard him as one of the greatest guitarists of all time, yet he remains in the shadows. He is known, especially in our circles, to a narrow audience, although more and more people are discovering the charm of his challenging but very interesting and original music. Musicians appreciate him for his creativity and attitude - he is perpetually dissatisfied with what he played in the past, always seeking something new. He defined modern legato playing on the guitar and is a master of tremolo use. He perfected the use of the SynthAxe, an instrument designed to bring sound synthesis into the realm of the guitar. Thanks to his unconventional approach to harmony and the development of his own theory of scales based on mathematical permutations of intervals, he became one of the few guitar innovators. He possesses a technique that still impresses to this day. As Eddie Van Halen once said, "What I do on the neck with both hands, he does with one." He can be appreciated not only for intellectualism and a conceptual approach to the instrument but also for the emotions expressed in his harmonies and dramatic solos, where solo lines are always a pretext to showcase harmonic structures. His phrasing is an unparalleled model. Listening to him demands dedication and concentration. His albums are sometimes uneven, but that's the result of constant exploration. This artist never rests on his laurels, which is why buying one of his albums after a few years may lead to a completely different musical experience. He has a large and devoted fan base scattered around the world. Every self-respecting guitarist sooner or later comes across his records. He's not the idol type; he doesn't play on heavily advertised super-guitars (although you could see him on advertising pages recently), he doesn't have a record contract, and he doesn't like it when someone tells him what to play. Perhaps by working with good producers, he would record entirely different, maybe better, perhaps more palatable albums for a broader audience. However, he doesn't trust anyone; he composes, records, produces, and mixes his own albums, wanting complete control over the music he releases under his name. Hence, he despises bootlegs. He also dislikes critics, the showbiz, and discussions about music, which he claims you either play or listen to. You won't find his music on radio stations, simply because it can't be unequivocally classified as jazz or rock, and the word "fusion" is already outdated. In his sounds, you can find impressionism reminiscent of classical music, elements of jazz improvisation, rock expression, and progressive coolness. | ||
MUSICAL CAREER | ===MUSICAL CAREER=== | ||
He hails from Bradford, Yorkshire, where he was born on August 6, 1946. His musical education was greatly influenced by his father, a jazz pianist and enthusiast who taught him the basics and, most importantly, surrounded him with music. Albums by Django Reinhardt, Jimmy Rainey, Charlie Christian, later Joe Pass and John Coltrane, had a significant impact on him, as he admits. He learned to play several instruments (see the interview). His first band was called IGGINBOTTOM, and he even recorded an album with them in 1969. After the group disbanded, Holdsworth returned to his daily activities while occasionally playing in local clubs at night. At that time, he viewed music as a hobby, but over time, it began to take up more and more of his time. He moved successively to Manchester and London, playing in clubs, partly thanks to the discovery of his talent by saxophonist Ray Warleigh. This period was marked by new experiences and acquaintances. One of his acquaintances, Jon Hiseman (ex-COLLOSEUM), formed his band TEMPEST, with Allan Holdsworth as the guitarist and Paul Williams as the singer. After recording their debut album, a series of concerts, and his departure from the group, the artist began performing with the group NUCLEUS. In 1973, he played concerts with SOFT MACHINE and became a member of the band in the spring of the following year. He gained recognition in the music industry as a guitarist and musician, and in 1975, he joined Tony Williams' LIFETIME. After leaving the group due to "financial uncertainties" in 1976, he recorded his first solo album, "Velvet Darkness." A year later, he appeared on GONG's album and collaborated with Jean-Luc Ponty. During the same period, he also played with Bill Bruford, who invited him to a recording session for his album "Feels Good To Me." Thanks to the album "In The Dead of the Night" by the band U.K., his name became known to a wider audience of music lovers, including many guitarists who closely followed his career and music development from that point on. However, he left the group, recorded more albums with Bruford, and contemplated a solo career. With nothing else to do, he repaired amplifiers and sold equipment accumulated during concert tours with U.K. He began rehearsals with his good friend Jack Bruce (ex-CREAM) and Jon Hiseman. In the United Kingdom at that time, punk was reigning supreme, and no one cared about the music they had to offer. In the meantime, he met the fantastic young drummer Gary Husband, with whom he formed a new band. Along with Paul Carmichael (bass) and old friend Paul Williams, they recorded the album I.O.U. (the name suggests it's about borrowed money, and indeed, without it, there would be no album). It was released in 1982 (reissued in 1986), and in the meantime, Holdsworth even considered seriously quitting music altogether. He moved to California, and his big fan, Eddie Van Halen, convinced the Warner Bros executives to the extent that they signed a record deal with Holdsworth. In 1983, the legendary EP "Road Games" was released, which is now almost unavailable on the market. However, this marked the end of Warner's collaboration with the artist. Holdsworth's solo career began, yielding instrumental albums starting with "Metal Fatigue" (1986) and ending with "None Too Soon" (1996). A fan of Tetley beer, he loves bicycle rides and the TV series "Star Trek." He has a wife, Claire, with whom he raises three children. | He hails from Bradford, Yorkshire, where he was born on August 6, 1946. His musical education was greatly influenced by his father, a jazz pianist and enthusiast who taught him the basics and, most importantly, surrounded him with music. Albums by Django Reinhardt, Jimmy Rainey, Charlie Christian, later Joe Pass and John Coltrane, had a significant impact on him, as he admits. He learned to play several instruments (see the interview). His first band was called IGGINBOTTOM, and he even recorded an album with them in 1969. After the group disbanded, Holdsworth returned to his daily activities while occasionally playing in local clubs at night. At that time, he viewed music as a hobby, but over time, it began to take up more and more of his time. He moved successively to Manchester and London, playing in clubs, partly thanks to the discovery of his talent by saxophonist Ray Warleigh. This period was marked by new experiences and acquaintances. One of his acquaintances, Jon Hiseman (ex-COLLOSEUM), formed his band TEMPEST, with Allan Holdsworth as the guitarist and Paul Williams as the singer. After recording their debut album, a series of concerts, and his departure from the group, the artist began performing with the group NUCLEUS. In 1973, he played concerts with SOFT MACHINE and became a member of the band in the spring of the following year. He gained recognition in the music industry as a guitarist and musician, and in 1975, he joined Tony Williams' LIFETIME. After leaving the group due to "financial uncertainties" in 1976, he recorded his first solo album, "Velvet Darkness." A year later, he appeared on GONG's album and collaborated with Jean-Luc Ponty. During the same period, he also played with Bill Bruford, who invited him to a recording session for his album "Feels Good To Me." Thanks to the album "In The Dead of the Night" by the band U.K., his name became known to a wider audience of music lovers, including many guitarists who closely followed his career and music development from that point on. However, he left the group, recorded more albums with Bruford, and contemplated a solo career. With nothing else to do, he repaired amplifiers and sold equipment accumulated during concert tours with U.K. He began rehearsals with his good friend Jack Bruce (ex-CREAM) and Jon Hiseman. In the United Kingdom at that time, punk was reigning supreme, and no one cared about the music they had to offer. In the meantime, he met the fantastic young drummer Gary Husband, with whom he formed a new band. Along with Paul Carmichael (bass) and old friend Paul Williams, they recorded the album I.O.U. (the name suggests it's about borrowed money, and indeed, without it, there would be no album). It was released in 1982 (reissued in 1986), and in the meantime, Holdsworth even considered seriously quitting music altogether. He moved to California, and his big fan, Eddie Van Halen, convinced the Warner Bros executives to the extent that they signed a record deal with Holdsworth. In 1983, the legendary EP "Road Games" was released, which is now almost unavailable on the market. However, this marked the end of Warner's collaboration with the artist. Holdsworth's solo career began, yielding instrumental albums starting with "Metal Fatigue" (1986) and ending with "None Too Soon" (1996). A fan of Tetley beer, he loves bicycle rides and the TV series "Star Trek." He has a wife, Claire, with whom he raises three children. | ||
CONCERT | ===CONCERT=== | ||
I spoke with Allan Holdsworth before his concert at the Quasimodo club in Berlin, where he performed alongside Chad Wackerman (drums) and Dave Carpenter (bass). The Berlin performance was part of their European tour, organized after the success of previous shows in late February and March 1997. Allan Holdsworth's trio performed the following songs in Berlin: "Sixteen Men Of Tain" – a new melody from the upcoming album, "Looking Glass" from the album "Atavachron," "Above + Below," "E-tune (Material Real)" – another new track, and "Water On The Brain" from the album "Road Games," in which Carpenter excellently stepped into the shoes of the famous predecessor, Jeff Berlin, and delivered an astounding bass solo. After playing the new song "Running on Fumes," Allan Holdsworth commented on the enthusiastic fan response with the words, "This is a new song; you can't imagine how we f...ed it up." They performed "Funnels" in a somewhat swinging version, significantly altered from the original on the "Atavachron" album, featuring an excellent drum solo by Chad Wackerman. After a short break, they returned to the stage to play "Letters of Marque" from the "I.O.U." album, another new composition "0-1-2-7-4," and again from "I.O.U.," this time "Where Is the One." "House of Mirrors" from "Hard Hat Area" didn't sound as good as on the album, and the guitarist used a Roland VG-8 instead of the SynthAxe, if I recall correctly. "Texas" was another new song of the evening, followed by "Shallow Sea" from "I.O.U.," the galloping "Proto Cosmos" dedicated to Tony Williams, and finally, the encore, "Tokyo Dream" from "Road Games," which was welcomed with applause. For the encore, they played "Mr. Berwell" from "Atavachron," as far as I remember. As you can see, most of the material came from the albums "Atavachron" and "I.O.U." I'm not sure if this was driven by sentiment, which the artist holds for these albums, or rather their versatility and adaptability to the trio format. However, in my opinion, there was a lack of keyboard instruments in the background, which, besides creating atmosphere, would have provided a harmonic backdrop for the solos. Although Dave Carpenter did his best by playing various bass patterns, including regular and spread chords (sometimes it sounded like he was using a "sweep" technique on the bass!), he couldn't replicate the rich harmonies when Holdsworth played a solo. The master himself, as always, was focused and showed that despite his age, his fingers had not lost their agility. Speed, precision, and most importantly, his unique improvisations, which required the audience to keep up with his thoughts and narratives, were showcased. Comparing his live performance to what he recorded on albums, I had the feeling that his guitar style was slowly evolving, and the character of improvisations, especially in the new songs, hinted at another facet of the artist. We'll see what we find on the new album. Strangely, he didn't use the tremolo at all, and as fans may recall, using the "whammy bar" (which, incidentally, Van Halen cleverly emulated) added a specific atmosphere to his solos. Dave Carpenter skillfully handled the solo parts during the evening, playing at times similar to Jimmie Johnson, extremely technically proficient and musical. Chad Wackerman set the pace with very economical movements, and it was clear that the section's cooperation was working well. Allan Holdsworth is worth listening to and watching live, as it's an opportunity to hear improvisations that have not been recorded on any album yet. It's high time for the artist to consider a live album, although he often says that he won't record one too quickly. | I spoke with Allan Holdsworth before his concert at the Quasimodo club in Berlin, where he performed alongside Chad Wackerman (drums) and Dave Carpenter (bass). The Berlin performance was part of their European tour, organized after the success of previous shows in late February and March 1997. Allan Holdsworth's trio performed the following songs in Berlin: "Sixteen Men Of Tain" – a new melody from the upcoming album, "Looking Glass" from the album "Atavachron," "Above + Below," "E-tune (Material Real)" – another new track, and "Water On The Brain" from the album "Road Games," in which Carpenter excellently stepped into the shoes of the famous predecessor, Jeff Berlin, and delivered an astounding bass solo. After playing the new song "Running on Fumes," Allan Holdsworth commented on the enthusiastic fan response with the words, "This is a new song; you can't imagine how we f...ed it up." They performed "Funnels" in a somewhat swinging version, significantly altered from the original on the "Atavachron" album, featuring an excellent drum solo by Chad Wackerman. After a short break, they returned to the stage to play "Letters of Marque" from the "I.O.U." album, another new composition "0-1-2-7-4," and again from "I.O.U.," this time "Where Is the One." "House of Mirrors" from "Hard Hat Area" didn't sound as good as on the album, and the guitarist used a Roland VG-8 instead of the SynthAxe, if I recall correctly. "Texas" was another new song of the evening, followed by "Shallow Sea" from "I.O.U.," the galloping "Proto Cosmos" dedicated to Tony Williams, and finally, the encore, "Tokyo Dream" from "Road Games," which was welcomed with applause. For the encore, they played "Mr. Berwell" from "Atavachron," as far as I remember. As you can see, most of the material came from the albums "Atavachron" and "I.O.U." I'm not sure if this was driven by sentiment, which the artist holds for these albums, or rather their versatility and adaptability to the trio format. However, in my opinion, there was a lack of keyboard instruments in the background, which, besides creating atmosphere, would have provided a harmonic backdrop for the solos. Although Dave Carpenter did his best by playing various bass patterns, including regular and spread chords (sometimes it sounded like he was using a "sweep" technique on the bass!), he couldn't replicate the rich harmonies when Holdsworth played a solo. The master himself, as always, was focused and showed that despite his age, his fingers had not lost their agility. Speed, precision, and most importantly, his unique improvisations, which required the audience to keep up with his thoughts and narratives, were showcased. Comparing his live performance to what he recorded on albums, I had the feeling that his guitar style was slowly evolving, and the character of improvisations, especially in the new songs, hinted at another facet of the artist. We'll see what we find on the new album. Strangely, he didn't use the tremolo at all, and as fans may recall, using the "whammy bar" (which, incidentally, Van Halen cleverly emulated) added a specific atmosphere to his solos. Dave Carpenter skillfully handled the solo parts during the evening, playing at times similar to Jimmie Johnson, extremely technically proficient and musical. Chad Wackerman set the pace with very economical movements, and it was clear that the section's cooperation was working well. Allan Holdsworth is worth listening to and watching live, as it's an opportunity to hear improvisations that have not been recorded on any album yet. It's high time for the artist to consider a live album, although he often says that he won't record one too quickly. | ||
GiB Special (Interview) | ===GiB Special (Interview)=== | ||
Guitar and Bass: Are you currently recording an album? | Guitar and Bass: Are you currently recording an album? | ||
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GiB: The issue is finding a record label that would release your music. Are there any chances of you signing a contract that would at least allow you some comfort when recording future albums? In Europe, Jean-Marie Salhani is such a daring figure. (Editor's note: Holdsworth's albums were mainly released by American labels Enigma and later Restless. The latter holds the rights to his albums in the US. Allan often mentions that no one puts effort into promoting his records, but he can't afford to buy back the entire US catalog. In Japan, the most recent albums were released under Polydor. In Europe, all his solo albums are released by JMS-Cream Records in Paris. Many albums on the market are bootlegs.) | GiB: The issue is finding a record label that would release your music. Are there any chances of you signing a contract that would at least allow you some comfort when recording future albums? In Europe, Jean-Marie Salhani is such a daring figure. (Editor's note: Holdsworth's albums were mainly released by American labels Enigma and later Restless. The latter holds the rights to his albums in the US. Allan often mentions that no one puts effort into promoting his records, but he can't afford to buy back the entire US catalog. In Japan, the most recent albums were released under Polydor. In Europe, all his solo albums are released by JMS-Cream Records in Paris. Many albums on the market are bootlegs.) | ||
AH: Yes, here in Europe, it will be released by J. M. Salhani, but I have no idea how to release it outside Europe. I don't have any record contract. That's why I often run into problems when someone releases my unreleased recordings as bootlegs. This time, a guy who sang in my band over 10 years ago, Paul Williams (he sang on "Road Games," "I.O.U.," and "Metal Fatigue" – editor's note), did that. I can't believe what he did. He had some tapes that he never told me about. He remixed them and released them. To make matters worse, these are tapes from 1985, which he released as some new album. It really pissed me off because it's very hard to sign a record contract when people behave like he did. He never told me about this, and he didn't sign any contracts with anyone who played in the band at that time. He made money off my music, my band, and my name, which he put on the record. I'm really p***ed off at him for what he did. Right now, I'm taking legal action against him... I really can't believe what he did. Why didn't he name the album after himself? This guy is an idiot. The problem is that moves like this tarnish my image. People see the album in stores, so my request would be for them to be kind enough not to buy this album. | |||
GiB: These situations seem to happen to you quite often, I would say regularly. I remember that you recorded many albums quickly, you weren't satisfied with some sessions, yet they appeared on records. Often, what was recorded accidentally or stealthily was released without consulting you. Do you remember your first session with the IGGINBOTTOMS BAND? You recorded quickly, and I think you don't have very fond memories of that experience today? | GiB: These situations seem to happen to you quite often, I would say regularly. I remember that you recorded many albums quickly, you weren't satisfied with some sessions, yet they appeared on records. Often, what was recorded accidentally or stealthily was released without consulting you. Do you remember your first session with the IGGINBOTTOMS BAND? You recorded quickly, and I think you don't have very fond memories of that experience today? | ||
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GiB: Were those tough times for you? | GiB: Were those tough times for you? | ||
A.H: It wasn't a bad thing; I don't think of it that way. Many musicians have to do other things. I earned a living in various places: factories, workshops, bike shops. But when I saw my name in American guitar magazines like "Guitar Player," I thought maybe someone in America would be interested in my music. One of our musician friends was living in California at the time, so we went there with the band and stayed at his place. We played a few shows, and that's when we met Mike Varney. He helped us book some gigs at clubs, which surprisingly sold really well. It was amazing, performing to packed rooms after a period when we usually played to empty chairs, and there were no chances of getting any tours at all. | A.H: It wasn't a bad thing; I don't think of it that way. Many musicians have to do other things. I earned a living in various places: factories, workshops, bike shops. But when I saw my name in American guitar magazines like "Guitar Player," I thought maybe someone in America would be interested in my music. One of our musician friends was living in California at the time, so we went there with the band and stayed at his place. We played a few shows, and that's when we met Mike Varney. He helped us book some gigs at clubs, which surprisingly sold really well. It was amazing, performing to packed rooms after a period when we usually played to empty chairs, and there were no chances of getting any tours at all. | ||
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GiB: Well, jazz critics don't consider you a jazzman, and for rock fans, you're "off-topic," too jazzy. Do you think this kind of labeling, assigning someone's music to genres, is necessary? | GiB: Well, jazz critics don't consider you a jazzman, and for rock fans, you're "off-topic," too jazzy. Do you think this kind of labeling, assigning someone's music to genres, is necessary? | ||
A.H.: No, but it seems that everyone wants some classification. The category of "jazz" isn't strict. My father usually said that the word "jazz" was a label assigned to improvisation over harmonic and rhythmic structures, regardless of what it was. After styles developed, they became a traditional form. Now we have the second generation of traditional jazz, modern jazz. Styles like Bebop have become classics, and that's great; many really great musicians keep that genre alive. However, it's not something that resonates with me. I like to listen to it from time to time, but... it's not for me. A chord sequence is a chord sequence. On "None Too Soon," we recorded such songs. I didn't know any of them, so I learned them like any other melodies. The chords were the same, but I recorded the solo parts as if I were playing them in my original compositions. So there was no difference; only the format was different. I'm not interested in it in the long run... | A.H.: No, but it seems that everyone wants some classification. The category of "jazz" isn't strict. My father usually said that the word "jazz" was a label assigned to improvisation over harmonic and rhythmic structures, regardless of what it was. After styles developed, they became a traditional form. Now we have the second generation of traditional jazz, modern jazz. Styles like Bebop have become classics, and that's great; many really great musicians keep that genre alive. However, it's not something that resonates with me. I like to listen to it from time to time, but... it's not for me. A chord sequence is a chord sequence. On "None Too Soon," we recorded such songs. I didn't know any of them, so I learned them like any other melodies. The chords were the same, but I recorded the solo parts as if I were playing them in my original compositions. So there was no difference; only the format was different. I'm not interested in it in the long run... | ||
I asked Holdsworth if he could say a few words about his approach to harmony. "It's too difficult, let's drop it," he cut it short. | |||
GiB: In the discussion club that exists in your online fan club, I read opinions that "NTS" is an album where you can't feel the swing, and the blame was placed on the drummer, Kirk Covington. What do you think about such criticism? As far as I know, Willis and Covington were recommended to you by Scott Henderson (Scott plays with them in his band TRIBAL TECH - ed.). | GiB: In the discussion club that exists in your online fan club, I read opinions that "NTS" is an album where you can't feel the swing, and the blame was placed on the drummer, Kirk Covington. What do you think about such criticism? As far as I know, Willis and Covington were recommended to you by Scott Henderson (Scott plays with them in his band TRIBAL TECH - ed.). | ||
A.H.: I invited Gary Willis to work on the album because I love him; he's a fantastic bass player. I wanted him to feel comfortable with someone who would sit behind the drums. I gave him free rein, and he chose Kirk. I like what he played, maybe it's not good for everyone. This is not an album for everyone; people can throw it in the trash. It doesn't matter whether you like it or not. What time is it now? At this moment, there's about half an hour left until the concert, so our conversation ended. I didn't have time to ask many other questions, so I felt somewhat unsatisfied. Perhaps the conversation can be continued when Holdsworth finally comes to our country. Apparently, there have been a few attempts to arrange his performances here. He was even supposed to perform in Warsaw and Krakow in the autumn of last year. Manager Patrizzio Chiozza comforted me by saying that it's rarely possible to persuade Allan to do an interview, especially not before a concert. I guess I was lucky... | A.H.: I invited Gary Willis to work on the album because I love him; he's a fantastic bass player. I wanted him to feel comfortable with someone who would sit behind the drums. I gave him free rein, and he chose Kirk. I like what he played, maybe it's not good for everyone. This is not an album for everyone; people can throw it in the trash. It doesn't matter whether you like it or not. What time is it now? | ||
-At this moment, there's about half an hour left until the concert, so our conversation ended. I didn't have time to ask many other questions, so I felt somewhat unsatisfied. Perhaps the conversation can be continued when Holdsworth finally comes to our country. Apparently, there have been a few attempts to arrange his performances here. He was even supposed to perform in Warsaw and Krakow in the autumn of last year. Manager Patrizzio Chiozza comforted me by saying that it's rarely possible to persuade Allan to do an interview, especially not before a concert. I guess I was lucky... | |||
Piotr Nowicki | Piotr Nowicki | ||
