Allan's influences: Difference between revisions
From Allan Holdsworth Information Center
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Holdsworth sees his music as deriving from a combination of jazz, rock, and classical influences. He cites the harmonic influence of Debussy, Ravel, and Copland, as well as John Coltrane, Charlie Christian, and other role models. But, while his place in the fusion guitar pantheon is secure, he cringes at being associated with the f-word. There is something patently different about Holdsworth's bittersweet music, as compared to the typically upbeat, chops shop fusion. | Holdsworth sees his music as deriving from a combination of jazz, rock, and classical influences. He cites the harmonic influence of Debussy, Ravel, and Copland, as well as John Coltrane, Charlie Christian, and other role models. But, while his place in the fusion guitar pantheon is secure, he cringes at being associated with the f-word. There is something patently different about Holdsworth's bittersweet music, as compared to the typically upbeat, chops shop fusion. | ||
'''[[ In Memoriam: DownBeat’s Final Interview with Allan Holdsworth (Downbeat 2017)]]''' | '''[[In Memoriam: DownBeat’s Final Interview with Allan Holdsworth (Downbeat 2017)]]''' | ||
You wanted to take up a horn rather than guitar when you were younger. You really didn't think of yourself as a guitar player. Do you still feel that way and why? | You wanted to take up a horn rather than guitar when you were younger. You really didn't think of yourself as a guitar player. Do you still feel that way and why? | ||
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'''[[The Reluctant Guitarist (Jazz Journal 1992)]]''' | '''[[The Reluctant Guitarist (Jazz Journal 1992)]]''' | ||
‘The thing that always moved me most was hearing a really great chord, or just the way it was voiced. That's what I live for, that chord. It came mostly from classical music in the beginning.I got interested in certain composers - Bartok, the string quartets, and then The Concerto for Orchestra, and I also liked some of that opera, like The Miraculous Mandarin. Oh, and Debussy and Ravel. I love Ravel's string quartets. There's something about that period. Music was just starting to look like scenery; you could see things in the music. | ‘The thing that always moved me most was hearing a really great chord, or just the way it was voiced. That's what I live for, that chord. It came mostly from classical music in the beginning.I got interested in certain composers - Bartok, the string quartets, and then The Concerto for Orchestra, and I also liked some of that opera, like The Miraculous Mandarin. Oh, and Debussy and Ravel. I love Ravel's string quartets. There's something about that period. Music was just starting to look like scenery; you could see things in the music. | ||
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