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'''Allan Holdsworth (6 August 1946 – 15 April 2017)[1] was a British jazz fusion and progressive rock guitarist, violinist and composer.''' | Wikipedia: '''Allan Holdsworth (6 August 1946 – 15 April 2017)[1] was a British jazz fusion and progressive rock guitarist, violinist and composer.''' | ||
It is objectively true that Allan was a guitarist, violinist and composer. The violin playing was a side project, however. Allan's last known public performance on the violin was on "Temporary Fault" from the I.O.U. album. Describing him as a jazz fusion and progressive rock guitarist is a subjective statement though. While it is true that many applied the label to him, Allan never described his own music as either "jazz fusion" or "progressive rock". He actively objected to the term fusion. For example, he told Anil Prasad in 1993: | It is objectively true that Allan was a guitarist, violinist and composer. The violin playing was a side project, however. Allan's last known public performance on the violin was on "Temporary Fault" from the I.O.U. album. Describing him as a jazz fusion and progressive rock guitarist is a subjective statement though. While it is true that many applied the label to him, Allan never described his own music as either "jazz fusion" or "progressive rock". He actively objected to the term fusion. For example, he told Anil Prasad in 1993: | ||
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As for calling Holdsworth a progressive rock guitarist, some of the same applies. It is true that Holdsworth played in a few bands that could easily be labeled "progressive rock" (most notably perhaps with U.K.), and played on several records in the genre, he himself never described his playing that way. Since 1982, Allan's main body of work was as a solo artist, and this only had a superficial resemblance to progressive rock. This writer thinks simply saying "jazzrock" would be a more apt description. | As for calling Holdsworth a progressive rock guitarist, some of the same applies. It is true that Holdsworth played in a few bands that could easily be labeled "progressive rock" (most notably perhaps with U.K.), and played on several records in the genre, he himself never described his playing that way. Since 1982, Allan's main body of work was as a solo artist, and this only had a superficial resemblance to progressive rock. This writer thinks simply saying "jazzrock" would be a more apt description. | ||
'''Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.''' | Wikipedia: '''Holdsworth was known for his esoteric and idiosyncratic usage of advanced music theory concepts, especially with respect to melody and harmony. His music incorporates a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used myriad scale forms often derived from those such as the Lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also became associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.''' | ||
This paragraph really is a mess. For an encyclopedic entry, it would perhaps be best to separate between what could be inferred from Allan's own description of his playing in contrast with external descriptions of it. From Allan's own perspective, he did not describe his music in traditional terms. Instead, he worked out his own system. He did recognize basic terms such as major and minor chords and scales, but beyond that, he hever used standard terms. Neither did he ever learn reading music beyond a very basic level. A primary influence seems to have been Slonimsky's Thesaurus. Bill Bruford said "He worked like a dog on Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns." (Guitar Player 2008). Allan himself said: | This paragraph really is a mess. For an encyclopedic entry, it would perhaps be best to separate between what could be inferred from Allan's own description of his playing in contrast with external descriptions of it. From Allan's own perspective, he did not describe his music in traditional terms. Instead, he worked out his own system. He did recognize basic terms such as major and minor chords and scales, but beyond that, he hever used standard terms. Neither did he ever learn reading music beyond a very basic level. A primary influence seems to have been Slonimsky's Thesaurus. Bill Bruford said "He worked like a dog on Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns." (Guitar Player 2008). Allan himself said: | ||
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Furthermore, it is true that his primary influence was the saxophone. However, the statement that the SynthAxe was an "early form of guitar synthesizer" is wrong. The SynthAxe was NOT a guitar synthesizer. Instead it was a guitar-like MIDI controller that did not output any sound at all beyond MIDI data. | Furthermore, it is true that his primary influence was the saxophone. However, the statement that the SynthAxe was an "early form of guitar synthesizer" is wrong. The SynthAxe was NOT a guitar synthesizer. Instead it was a guitar-like MIDI controller that did not output any sound at all beyond MIDI data. | ||
'''Holdsworth has been cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] Fredrik Thordendal,[13] Daniel Mongrain,[14] John Frusciante,[15] and Tom Morello.[16] Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet",[17] while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."[18]''' | Wikipedia: '''Holdsworth has been cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] Fredrik Thordendal,[13] Daniel Mongrain,[14] John Frusciante,[15] and Tom Morello.[16] Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet",[17] while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."[18]''' | ||
This section is factually correct, but sadly, it also displays a problem: All the people listed are guitar players. | This section is factually correct, but sadly, it also displays a problem: All the people listed are guitar players. | ||
