None Too Soon (album): Difference between revisions
From Allan Holdsworth Information Center
No edit summary |
|||
| Line 96: | Line 96: | ||
AH: Well, it’s really related to the kind of music. When I did the album '''None Too Soon''' and then 16 Men of Tain it was a challenge to put a distorted guitar sound in that musical setting which was basically acoustic bass and drums. If I was to take the sounds I was using on albums like Hard Hat Area which was mostly the Boogie’s and stuff, when you stick that in with acoustic bass and drums it just doesn’t seem to work. It just doesn’t seem necessary to use the same amount of distortion. When Gary’s playing it works because it’s aggressive and has got that edge in that setting. But something softer and more delicate like on '''None Too Soon''', it just didn’t sound right. It was a real challenge to make that work and sound right and I was pleased that I was able to do that in that setting. Now I don’t use that much distortion but I still use it to get sustain and but I get more of a controlled thing. The new album will be a return of stuff I used to do, more aggressive sounding. | AH: Well, it’s really related to the kind of music. When I did the album '''None Too Soon''' and then 16 Men of Tain it was a challenge to put a distorted guitar sound in that musical setting which was basically acoustic bass and drums. If I was to take the sounds I was using on albums like Hard Hat Area which was mostly the Boogie’s and stuff, when you stick that in with acoustic bass and drums it just doesn’t seem to work. It just doesn’t seem necessary to use the same amount of distortion. When Gary’s playing it works because it’s aggressive and has got that edge in that setting. But something softer and more delicate like on '''None Too Soon''', it just didn’t sound right. It was a real challenge to make that work and sound right and I was pleased that I was able to do that in that setting. Now I don’t use that much distortion but I still use it to get sustain and but I get more of a controlled thing. The new album will be a return of stuff I used to do, more aggressive sounding. | ||
==[[None Too Soon (Guitar Club 1997), English]]== | |||
GC: Let's start with the last "None Too Soon", including some personal remakes of songs by important authors like Irving Berlin, John Coltrane (Countdown), Django Reinhardt (Nuages), Bill Evans (Very Early), and even Lennon/McCartney (Norwegian Wood)? | |||
AH: With me, in the album he plays an exceptional trio of Gordon Beck on keyboards, Gary Willis on bass and Kirk Covington on drums. The idea of "None Too Soon" came from Gordon. One day he takes me aside and tells me "why do we record a collection of songs known and loved by people, family for most of them? So that they can more easily approach and appreciate what your music is?” [Machine back translated.] | |||
So, if you want, a double purpose: to present songs that belong to our lives, which are now part of us as men and artists, and to be in some way introductory to my way of playing and interpreting music. This is because, speaking of original pieces, those who listen often do not have reference points to better interpret structure and meaning. Especially if the type of approach is not the easiest, the simplest, as in my case. [Machine back translated.] | |||
GC: At that point you chose the authors. Following which criterion? | |||
AH: [xxx] I had a precedent to watch, an album released three years ago, at least I think, for the Japanese market, where guitarists of different musical extractions engaged in a free re-reading of Beatles songs. I think it was called "Come Together". The idea, in its simplicity, seemed immediately brilliant. At that time, Gordon often came to me, we were frequenting each other fairly because they were both engaged in similar projects, and the speech fell on that record. We therefore decided to take advantage of the favorable moment. We therefore called Gary Willis and Kirk (Covington) and began to choose the material. Of course the repertoire to draw on was very vast. We then restricted the field to those authors that we all felt closer, common passions cultivated over time. And so the final playing list came out. Personally, I immediately proposed How Deep is the Ocean by Irvine Berlin for me one of the greatest great composers in the history of music, and Nuages by Diango Reinhardt, another authentic monster of skill and creativity. [Machine back translated.] | |||
Of course, everyone puts the titles on which, in 99% of cases, we immediately agreed. Like Isotope by Joe Henderson or "Countdown" by Coltrane: pillars of our artistic formation. Thinking of Come Together we also focused on a Beatles song, opting for "Norwegian Wood". One of the most particular episodes of the repertano (discovery?), either for the then novelty of the sitar or for the harmonic structure and the melody for once much more important and pre-eminent than words. The remake and result spot on, atmospheric. One of the most profound and touching moments of the collection, perhaps together with Henderson's "Inner Urge." [Machine back translated.] | |||
GC: On the album you almost always use the faithful Steinberger, plus the SynthAxe in two or three tracks. You were a pioneer of synthesized guitar sound. Giving SynthAxe an Aura of Credibility? | |||
AH: Used in three tracks ("Nuages", "None Too Soon" and Very Early), with excellent results. I consider myself neither a pioneer nor a great talent just to be able to produce nice and interesting sounds from this instrument! I never understood the mistrust and indifference that is even worse, towards the SynthAxe. Contrary to what one hears, although its admirers are as numerous as the detractors, this tool is useful and interesting. [Machine back translated.] | |||
[[Category:Solo albums]] | [[Category:Solo albums]] | ||
[[Category:Discography]] | [[Category:Discography]] | ||
