|
|
| Line 253: |
Line 253: |
|
| |
|
| "The interpretation of my original music can be played in so many different ways, almost like different kinds of styles," he remarks. "And as I began playing with Gary Novak and Dave Carpenter a couple of years ago, I could hear that the interpretation of it was pushing into a different direction. And it sounded really kind of natural. So I basically wrote the material that was on this record with that in mind, because I knew that Gary Novak’s interpretation is a different kind of thing from the way that '''Gary''' '''Husband'''’s interpretation of it would be. He plays with a lot of energy but he can also play pretty soft, and I was enjoying that. [Novak] has a pretty amazing way of just making it feel good. It feels better than it does with other guys even though you can’t really put your finger on it." | | "The interpretation of my original music can be played in so many different ways, almost like different kinds of styles," he remarks. "And as I began playing with Gary Novak and Dave Carpenter a couple of years ago, I could hear that the interpretation of it was pushing into a different direction. And it sounded really kind of natural. So I basically wrote the material that was on this record with that in mind, because I knew that Gary Novak’s interpretation is a different kind of thing from the way that '''Gary''' '''Husband'''’s interpretation of it would be. He plays with a lot of energy but he can also play pretty soft, and I was enjoying that. [Novak] has a pretty amazing way of just making it feel good. It feels better than it does with other guys even though you can’t really put your finger on it." |
|
| |
| [[Gary Husband on Allan Holdworth]]
| |
|
| |
| http://www.abstractlogix.com/a-force-majeure-gary-husband-interview/
| |
|
| |
| Having this conversation about Steve reminds me of going way back into the early 80’s when I was working with Allan Holdsworth and he was doing a lot of his own publicity and promo. Now, anyone who knows '''Allan''' knows how funny this prospect is! I would be sitting in a room with him and he’d be talking to promoters of gigs on the phone here in England saying, “We’d like to get a gig, we are a three piece and I’m '''Allan''' '''Holdsworth''' and I’ve done this with Bruford, Tony Williams... They would ask what kind of music he’s doing now and he would say, “Oh, it’s '''Allan''' '''Holdsworth''' music! or It’s improvisational music! – just a beautiful answer, correct of course, but it meant absolutely nothing to them and he didn’t really choose to want to expand in any more detail, and why should he have had to!! There is one unique individual, he is amazing and with this man I pretty much formed my drumming vocabulary as well as in more general ways of development, and I owe a big debt to ‘Uncle Allan’ for sure! He’s like a brother, yes.. and back in those days he was just about the only one who let me really loose, playing the way I really felt to play.
| |
|
| |
| L: Allan had already achieved quite a career establishing himself contributing to bands like Soft Machine, Tony Williams, before launching out on to his solo career in the late 70’s and 80’s. However, you were very young when you began playing with Allan on albums like I.O.U.
| |
|
| |
| GH: Yes, I was all of 19. In fact.. well I can hear I’m also still working through my influences on that album; Cobham, Tony Williams, Stewart Copeland, DeJohnette and Narada and these people.. but I was very there for the music too, because I really felt it and loved it, and I was really loving forming and finding myself through it, trying to make it live in a vibrant way. I was like a puppy dog, always very happy to go ahead and work with any twists and turns Allan was contemplating in terms of the music, I was just overjoyed to be involved in it all and I’m very proud of all those old records despite their considerable faults! From when we took the band to America, we were almost able to keep working non-stop, certainly in those first few years! Aaah, different times.
| |
|
| |
| We all went to the States at the same time to take I.O.U. there, only he just never came back. This was for the best for him back then, there’s no doubt there.
| |
|
| |
|
| |
| https://www.allaboutjazz.com/gary-husband-there-were-these-three-yorkshiremen-gary-husband-by-ian-patterson.php?id=31854&pg=5
| |
|
| |
|
| |
| AAJ: I hear this from a lot of musicians, that they feel that the music comes through them, as though they are some kind of portal. Let's talk about Allan Holdsworth. He's undoubtedly one of the most influential guitarists ever—I mean everyone talks about I.O.U. In what way has he inspired your music-making?
| |
|
| |
|
| |
| GH: He's been such a predominant figure in my own development for sure, as he actually was the first one to hire me and let me really play and not try and change it all. Back in the old days, I was a little bit on the intense side for most people's tastes as a drummer. I was always into something with a lot of reach and fire, and he was the first one who said, "Bring it on, go for it." And he really loves that from a drummer—a very improvisational input and participation.
| |
|
| |
|
| |
| He doesn't like rigidity, and in that respect I felt I'd found a place where I could reach a lot with someone. I wonder sometimes if it isn't very close to what Elvin felt like with John Coltrane, or Tony Williams with Miles.
| |
|
| |
|
| |
| At that time it was perfect for me—a very big stepping stone insofar as how my development was about to take shape. And there is no question that a lot of significant movement was arising as a direct result of the musical relationship with Allan. I also always felt very naturally his (quite uncommon) way and just understood it immediately. That's another thing. Very much as if we were brothers or something. Peculiar.
| |
|
| |
| https://peters-principles.com/2018/05/14/10-questions-with-gary-husband/
| |
|
| |
| You have said Allan Holdsworth once told you to “be yourself “. In retrospect, did absorbing that truly allow you to express yourself, or could it have subconsciously made you strive to be different from your peers?
| |
|
| |
| Allan really was the first one to come along and not put any pressure on me whatsoever to try and sound like somebody else. And this was so momentous a happening at that time. I was playing with a much more “American drummer” exuberance back in London in my teenage years. I hope I still do! But I was definitely forming in a way that wasn’t the norm by any means in 1978, and certainly wasn’t to everyone’s taste! And I could so bring to light the way I was forming with somebody such as Allan. The fact that it happened, and that we met when we did, was absolutely miraculous timing. But in another way, I kind of feel it was meant to be. That’s why I feel so blessed.
| |
|
| |
| https://www.hit-channel.com/gary-husband-solojohn-mclaughlinallan-holdsworthbilly-cobham/2643
| |
|
| |
|
| |
| Do you think your career would be different if you hadn’t met Allan Holdsworth at so young age?
| |
|
| |
| Oh, sure. Because this forged in such a big way the way I play today. A most significant wealth of development stemmed from the early years with him since he was really the first one who let me be free. Before I met Allan, I was playing in a number of different bands. In one I would be asked to try and sound like Steve Gadd, in another like Elvin Jones. Even though the music was jazz, musical, fusion, they still wanted me to be in a certain way, and quite rigid with it, but Allan was the first one who said to me “Listen, just play how you want to play and bring to the music what you feel”. He was the first one that asked me not only to play the drums – he asked me for my imagination too. So, yes, he was especially important to me.
| |
|
| |
| Do you remember that night at Roxy in L.A when Eddie Van Halen and Jeff Berlin joined you and Allan Holdsworth on stage?
| |
|
| |
| Yes, I do (laughs). These were wild times. This is 1982 you’re talking about . We were just very happy because when we started that band in 1979 here, it was very difficult for anything happens for us. It was such difficult to get work. Because Allan had played in America with Soft Machine, U.K and Tony Williams, I lot of people knew that he was doing something new and it was very easy for us to go there and work, which at the time was an incredibly exciting thing for all of us. Especially for me. But, here Allan was in that country doing his own band, a lot of people were coming out and showing their appreciation. One of them, a big fan, was Eddie Van Halen, who loved Allan’s playing. At the time, I think we were trying to get a new record contract, so Eddie helped Allan out by giving him visibility and playing live with him onstage, which was great. I don’t remember actually which songs we played, but I remember the feeling, it was very nice.
| |
|
| |
| Check out https://talking2musicians.com/2013/11/12/gary-husband-interview-notes/
| |
|
| |
| https://web.archive.org/web/20110106205908/https://www.oregonmusicnews.com/blog/2010/12/03/gary-husband-drummer-and-keyboardist-for-john-mclaughlin-the-essential-interview/
| |
|
| |
| How did you meet Allan Holdsworth and get an invitation to join his band IOU? What was it like for you as a drummer to record on a barge? How did you work together with Paul Carmichael to flesh out the rhythmic ideas for Allan’s pieces?
| |
|
| |
|
| |
| I met Allan by chance while working at Ronnie Scott’s club with Barbara Thompson’s Paraphernalia group. It was around ’78. I’d actually been fired, and was playing my last gigs with her. Allan at that point was working on a three-piece band idea with drummer Jon Hiseman, (Barbara’s husband) together with Jack Bruce. One evening, Allan and Jack both came into the club, and I met them both. Allan was saying how much he had enjoyed my playing and asked if I’d be into the idea of having a jam with him. We did that and were immediately most comfortable together; it just clicked. Anyway, the story goes that Jon replaced me in Barbara’s band, and I took up with Allan! We just swapped places! It was a great thing to happen for me around then. It represented me starting to find my own voice with the drums, since Allan was really the first one to set me really free and play how I wanted to play in his music. And I was extremely comfortable in his music – always have been. So there it is; that was the beginning.
| |
|
| |
|
| [[Category:Musicians]] | | [[Category:Musicians]] |
