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Alembic Club » Alembic Basses & Guitars » Archive through January 07, 2011 » Archive: 2009 » Archive through June 23, 2009 » I didn't know guy used had Alembic in his music... « Previous Next »

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hendixclarke
Senior Member
Username: hendixclarke

Post Number: 654
Registered: 6-2007
Posted on Friday, May 08, 2009 - 10:28 pm:   Edit Post

Allen Holdsworth

I loved "Road Games" back in the 80's
That's a bad as Alembic too!

http://www.youtube.com/watch?v=Ro26GZlg52A
olieoliver
Senior Member
Username: olieoliver

Post Number: 2361
Registered: 2-2006
Posted on Friday, May 08, 2009 - 10:41 pm:   Edit Post

Some VERY tasteful bass playing too. Love the sound and the groove. Veryy cool.

OO
elwoodblue
Senior Member
Username: elwoodblue

Post Number: 672
Registered: 6-2002
Posted on Friday, May 08, 2009 - 11:13 pm:   Edit Post

Jimmy Johnson comes around here frequently.
Thanks for the link.
jimmyj
Member
Username: jimmyj

Post Number: 66
Registered: 8-2008
Posted on Saturday, May 09, 2009 - 12:17 am:   Edit Post

Thanks for spotting that ancient clip hal. And thanks OO. Allan's music is indeed special and with Paul's singing at that time it was an even crazier mix of musical styles (!!). I didn't play on the Road Games album, that was Jeff Berlin lighting that on fire. I joined the band shortly after that.

The weirdest thing about this Japanese video is that I'm playing a graphite necked fretted instrument... I think this became my fretless bass after that trip, strange that I can't remember. Maybe someday Mica can see if "80-1467" started it's life with frets? OR, it could be what became the backup fretless, "82-2252". C'mon Jim, get your facts straight!

Jimmy J
white_cloud
Senior Member
Username: white_cloud

Post Number: 658
Registered: 11-2007
Posted on Saturday, May 09, 2009 - 3:40 am:   Edit Post

"Road games" changed my perception of how music should be - it was incredible. I had been a Jeff Berlin fan for a time when he played with Bill Bruford but this was something else!

My admiration for Jeff Berlin led me to Allan Holdsworth which in turn led me to Jimmy J - music can be funny in the way that one thing can lead to another in this way!

Jeff has always had a really negative reputation (he takes a lot of abuse on youtube etc) but for me I love the guys playing, just listen to the solo on "water on the brain" -- says it all for me! I consider Jeff to be one of the seminal electric bass soloists of all time.

"Road games" - the unfinished masterpiece!

John.
georgie_boy
Senior Member
Username: georgie_boy

Post Number: 705
Registered: 8-2005
Posted on Saturday, May 09, 2009 - 4:49 am:   Edit Post

Brilliant!
pauldo
Intermediate Member
Username: pauldo

Post Number: 125
Registered: 6-2006
Posted on Saturday, May 09, 2009 - 6:10 am:   Edit Post

Nice solo Jimmy - very expressive.
davehouck
Moderator
Username: davehouck

Post Number: 8012
Registered: 5-2002
Posted on Saturday, May 09, 2009 - 6:48 am:   Edit Post

This is a great video of Jimmy and his Alembic. Great tone, nice playing, and very nice solo!
hendixclarke
Senior Member
Username: hendixclarke

Post Number: 655
Registered: 6-2007
Posted on Saturday, May 09, 2009 - 7:08 am:   Edit Post

That was my favorite cut: "Panic Station" was melodic, with hint of edge. This song shows a a very good example of what I call: "A Directional Pump, or Groove".

Its hard to interpret this music because it touches so many nerves in my brain. All I know, is I like this open feeling of such space. It's Angelic, peaceful, and very serene with a serious message on vocals. SO GOOD IT'S BAD!!!

"Road Games" oh my GOD, I burned so many needles playing that album and many basses players including myself were using bass chorus to give that bass fullness and resonances.

The only thing I didn't like about "Panic Station" was; I felt it was too short.

I wanted to keep hearing the melody which drove the main theme. In other words, all great sounds never last long enough.


Thank you JJ, for joining this thread. Your playing sound, opens my mouth in "Lock position" with amazement, skin with "Goose Pimples" and a serge's of warmth, down my spine which validates my ears are still working good from all those years... It still sound good!

Hal-
terryc
Senior Member
Username: terryc

Post Number: 814
Registered: 11-2004
Posted on Saturday, May 09, 2009 - 11:45 am:   Edit Post

Awesome bass sound, sounds fretless to my ears.
Great groove with a superb drum rhythm. just wish I had a quarter of jimmy j's talent..even a 1/8 would do!
I remember when Alan Holdsworth was with Level 42 back in the 90's. Although he played some great solos with them I though he didn't fit with the band as to the direction they were going.
jimmyj
Member
Username: jimmyj

Post Number: 67
Registered: 8-2008
Posted on Saturday, May 09, 2009 - 11:07 pm:   Edit Post

Allan's use of the harmonizer in "Panic Station" makes for some particularly open sounding chords that are a blast to play on. Sometimes the chords can make the solo and I feel very lucky to have had the opportunity to play over these.

Yes John, it is great how music can lead you around. My first exposure to Allan was the Tony Williams album "Believe It" which kind of melted my brain... And yes also to your Jeff Berlin comments, he is one of those guys who makes you think about hanging up the bass when you hear how effortlessly he can play through chord changes. Crazy good.

Thanks George, Paul, Dave and Hal. "Directional Pump"? Sounds more like one of my "Too Many Notes" grooves. Haha! Always fun to play in a trio setting because there is so much space - but I do tend to fill it up!

Terry, that bass definitely had frets at the time. I know because I've never taken a fretless on tour and certainly didn't bring more than one bass on that trip.. But now I think this was the '82 series-I which has since shed it's frets and rarely appears in public...

Oh and talk about music leading to unusual connections - Allan's appearance with Level 42 (which I thoroughly enjoyed) came about because Gary Husband was playing drums in that band and many years earlier had been a member of Allan's "IOU". And there's Mark King with his Alembic so we've come full circle!

Cheers to all!
Jimmy J

(Message edited by jimmyj on May 09, 2009)
hendixclarke
Senior Member
Username: hendixclarke

Post Number: 660
Registered: 6-2007
Posted on Sunday, May 10, 2009 - 1:39 am:   Edit Post

Alan Holdsworth solo's always sound like his guitar is complaining... It's bothersome after a while of listening. I love his cords when holding the rhythm, but his solos almost sound like an out of tune violin at times. I still dig him, but taping notes puts me to sleep.
terryc
Senior Member
Username: terryc

Post Number: 816
Registered: 11-2004
Posted on Sunday, May 10, 2009 - 9:27 am:   Edit Post

Did you know that Alan Holdsworth was in Soft Machine in 1974/75.
The album he played on was 'Bundles', before that Soft Machine were a sax/keys, bass and drum psychedlia jazz outfit.
I think it was one of Alan's first album appearance but tell me if I am wrong.
davehouck
Moderator
Username: davehouck

Post Number: 8021
Registered: 5-2002
Posted on Sunday, May 10, 2009 - 10:15 am:   Edit Post

A quick check suggests that Holdsworth's appearances on Tony Williams' Believe It and Soft Machines's Bundles were both in 1975. Prior to that, he was a member of Tempest and appears on their first album Tempest from 1973. Prior to that, he was the guitar player on Ian Carr's Belladonna album from 1972. In 1971 he is credited on John Stevens' Re-Touch & Quartet. And before that he was a member of 'Igginbottom's Wrench which released it's only album 'Igginbottom's Wrench in 1969. This album may be Holdsworth's first album appearance.
davehouck
Moderator
Username: davehouck

Post Number: 8022
Registered: 5-2002
Posted on Sunday, May 10, 2009 - 10:29 am:   Edit Post

Here is the opening cut, Gorgon, from the Tempest album.
davehouck
Moderator
Username: davehouck

Post Number: 8023
Registered: 5-2002
Posted on Sunday, May 10, 2009 - 10:43 am:   Edit Post

And here is Nucleus - Summer Rain from the Ian Carr album. I really like this. The bass player here is Roy Babbington, who was also in Soft Machine when Holdsworth played with them, and of whom some of you will have probably heard before.
davehouck
Moderator
Username: davehouck

Post Number: 8024
Registered: 5-2002
Posted on Sunday, May 10, 2009 - 11:10 am:   Edit Post

And here is Sweet Dry Biscuits from 'Igginbottom's Wrench in 1969. This is pretty cool!
davehouck
Moderator
Username: davehouck

Post Number: 8025
Registered: 5-2002
Posted on Sunday, May 10, 2009 - 11:29 am:   Edit Post

Bonus coverage. Video of Holdsworth with Soft Machine.
terryc
Senior Member
Username: terryc

Post Number: 817
Registered: 11-2004
Posted on Sunday, May 10, 2009 - 11:42 am:   Edit Post

Oh my god I am 16, 17 and 18 years old again
Thanks for that Dave.
I guess you could say they were the english version of Return to Forever.
MArshall's drumming is excellent, and they all look so art-college type guys..very serious man!
paulman
Advanced Member
Username: paulman

Post Number: 373
Registered: 2-2005
Posted on Monday, May 11, 2009 - 6:40 am:   Edit Post

Jimmy, you and Chad really make a great team in the first clip! Love it :-)
blackelan
Member
Username: blackelan

Post Number: 95
Registered: 7-2007
Posted on Monday, May 11, 2009 - 7:34 am:   Edit Post

I remember I had a chance to grab one of those original Alan Holdsworth Charvels in red. I still regret not buying it when I had the chance. The unique thing was the Dimarzio vintage style bridge in chrome. Grover had made Alan's guitar bodies out of basswood, necks were maple with ebony. Alan used to jam at the old Charvel San Dimas factory after hours back in the early 80s.
georgie_boy
Senior Member
Username: georgie_boy

Post Number: 713
Registered: 8-2005
Posted on Monday, May 11, 2009 - 8:41 am:   Edit Post

Would that have been Hugh Hopper on bass??
Where is he now??
terryc
Senior Member
Username: terryc

Post Number: 820
Registered: 11-2004
Posted on Tuesday, May 12, 2009 - 2:17 pm:   Edit Post

Hugh Hopper..softs second bass man, brought fuzz bass to them..incredible player, not flash, no loads of notes in one bar, no slap or tapping but held the groove impeccably
Listen to 'Gesolreut', 'Riff I', '37 1/2' and others from the Live Six album.
was voted best jazz electric player for a few years in the Melody Maker in the early 70's
One of my heroes, and an unsung hero as well
jakebass
Member
Username: jakebass

Post Number: 74
Registered: 7-2007
Posted on Thursday, June 04, 2009 - 1:05 am:   Edit Post

I've checked this video a few times before, but I never really listened that closely to the comping behind Jimmys solo before it is absolutely dynamite. Allan provides a great canvas. There is another track from that show 'Road Games' here:http://www.youtube.com/watch?v=6MqzFN5-5jk

The opening passage is monstrous and Jimmy plays what I think is one of the most musical and death defying fills I've ever heard at 2.22. The notes are all within the scale/arpeggio but the range and execution make them special.
Jimmy I hope the praise is not over doing it for you but I really dig this stuff.
Jake
hb3
Advanced Member
Username: hb3

Post Number: 365
Registered: 2-2005
Posted on Thursday, June 04, 2009 - 8:04 am:   Edit Post

Jeff Berlin is really amazing on that album.

Why is "Road Games" an "unfinished masterpiece"?

Something to do w/ EVH?
hb3
Advanced Member
Username: hb3

Post Number: 367
Registered: 2-2005
Posted on Thursday, June 04, 2009 - 8:08 am:   Edit Post

BUT, you know what's amazing, the re-recording of...what's that song called? "China Dream"? Holy crap....
jimmyj
Member
Username: jimmyj

Post Number: 74
Registered: 8-2008
Posted on Thursday, June 04, 2009 - 11:34 pm:   Edit Post

Hey Jake and Hugh,

Yes, Allan's comping is ridiculous! Often more interesting than whoever is attempting to solo... That 2:22 fill is a typical JJ use (abuse) of open strings as passing notes - but thanks. Funny to hear me trying to play Jeff's chordal stuff on that song. Yikes!

The stories I've heard about the Road Games recording project portray a teeth-pulling experience for Allan. I think there was at least one false start and necessary rerecording of the basic tracks, I don't remember the reason. The record company was insisting on choosing the singer. A classic example of music colliding with music business and a general misunderstanding of what Allan is all about. The final result was only a 25 minute record but chock full of amazing music.

Tokyo Dream - cool tune.
Jimmy J
hb3
Advanced Member
Username: hb3

Post Number: 372
Registered: 2-2005
Posted on Friday, June 05, 2009 - 9:29 am:   Edit Post

Tokyo Dream -- omg, the remake is phenomenal...
hb3
Advanced Member
Username: hb3

Post Number: 373
Registered: 2-2005
Posted on Friday, June 05, 2009 - 9:31 am:   Edit Post

So -- wait -- the record comapny CHOSE Paul Williams?
jimmyj
Member
Username: jimmyj

Post Number: 76
Registered: 8-2008
Posted on Friday, June 05, 2009 - 12:28 pm:   Edit Post

I think Paul - who was in the band - was only allowed to sing on the title track and they may have snuck him in. Jack Bruce did the other two vocal tunes. I don't know if Jack was on the initial "list" of singers that the Company presented to Allan but they allowed it.

I wasn't on the scene yet so I'm just retelling what I remember of the tale. I hope someday Allan will write down the entire chapter. His telling of the story is both hilarious and sad at the same time.

Jimmy J
jakebass
Member
Username: jakebass

Post Number: 75
Registered: 7-2007
Posted on Friday, June 05, 2009 - 2:09 pm:   Edit Post

Hey Jimmy, I'm afraid I have blatently stolen that open string trick and inserted it into my bag of tricks, so a tip of my hat to you for that one. I don't feel too bad about it as I think we are all made up of our influences with a dash of our own personality. We can't help but sound like ourselves. There are so many great players out there and listening and regurgitating keeps the aural tradition alive.
Jake
hb3
Advanced Member
Username: hb3

Post Number: 375
Registered: 2-2005
Posted on Friday, June 05, 2009 - 9:50 pm:   Edit Post

Yeah, but, does he ever play with his teeth?
terryc
Senior Member
Username: terryc

Post Number: 897
Registered: 11-2004
Posted on Tuesday, June 16, 2009 - 8:19 am:   Edit Post

ok jimmy j just so we can emulate you(well almost) and to be sad as well, what settings did you use to get that wonderful tone.
And for my ignorance what is the 'open string' trick as well
We await in anticipation
jimmyj
Member
Username: jimmyj

Post Number: 82
Registered: 8-2008
Posted on Tuesday, June 16, 2009 - 11:31 am:   Edit Post

Thanks Terry, that's funny.

I've said this elsewhere, if you picked up and played my bass it would sound like you and vice versa. So I don't think settings really matter. BUT, being in here talking about these specific instruments makes it a valid question! I run my basses with more bridge pickup than bass pickup in the mix (via the trim pots) and all the large knobs all the way up all the time. The pointy cue boost knobs are generally OFF but the bridge channel gets just a touch to add a little HF zing. (On the Series-1 I used to have the switch in the middle position on the bridge channel). I guess I unconsciously move my right hand towards or away from the bridge at times to alter the tone. And that's it.

I can't claim the "open string" thing as my own Jake, I'm sure I stole that from somebody else. All it is Terry is playing some sort of arpeggio that starts up high and then uses an open G or D on the way down to the basement. Obviously it doesn't work in all keys but almost any chord which includes G in it's scale is a candidate. Ha! I've been playing these exact instruments for so long that I can almost make this left hand leap without looking... OK the LEDs help...

Jimmy J
terryc
Senior Member
Username: terryc

Post Number: 898
Registered: 11-2004
Posted on Tuesday, June 16, 2009 - 1:39 pm:   Edit Post

Thank you jimmy j and I am going to practice that trick.
As for the tone it is a coincidence that I set my own MK signature with more trimpot gain and raised pick up at the bridge, physics tell us there is less string incursion at that point as opposed to the bass pu which moves very easily in that area.
Thanks again we are in your debt(again!)
white_cloud
Senior Member
Username: white_cloud

Post Number: 700
Registered: 11-2007
Posted on Friday, June 19, 2009 - 12:08 pm:   Edit Post

I have to say (belatedly as my PC blew up - literally - and Im just back online) that Paul Williams has one of my favourite voices of all time...I love his vocals so much its ridiculous!

Theres just something about a husky vocal that makes music sound so much better - Paul is class act. Its a shame that the record company interferred with the "Road Games" recording - but it is typical. The "talentless" often have too much influence in the creative process of the "talented" when it comes to the cut throat music world imho.

And lets not forget this...Jimmy is an incredible bassist! "Road Games" changed my perception of how music should be played when it was initially released on vinyl(I bought it on an import as it was not available here in the UK)and Jeff was a massive part of that

BUT

Equally important is "Metal Fatigue" - for anyone who is not familiar with this LP I need to tell you....DO NOT BE FOOLED by Jimmys genuine endearing humble nature - he is a bass MONSTER on this recording and on EVERY Allan H recording he has apeared on!

Check out "Spokes" on the Allan H lp "Secrets"...a bass masterclass of incredible bass tone and virtuosity!

John.

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