Customer Reviews

None Too Soon

5 star:		(8)
4 star:		(5)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

This album was the last thing I expected when it came out.
I saw it on the net one day when doing a search on "Allan Holdsworth". Needless to say, I was not sure if it was for real at first. Who would have thought that he would bring out an album of relatively straight-ahead jazz standards ?

But it was a pleasant surprise, and already being familiar with these songs, I was curious to hear his treatment of them. I was not disappointed - the familiar changes gave me some valuable insights into some of the devices Allan uses in his solos due to my ears hearing them in a more conventional harmonic context.

It is always nice to hear how a player handles "Coltrane Changes" (ie the type of chord changes in 'Countdown' or 'Giant steps'), and as you would expect, AH just tears them apart on "Countdown". What I found interesting was the free section before and after the head. I though this was a nice touch and made the whole arrangement sound more "allan-esque".

"Isotope" is interesting too. You don't often get to hear AH play a 12-bar !! As you would expect, its not exactly Muddy Waters, but its a very interesting blues solo. Gary Willis plays a nice solo in this track too.

The title track, "None Too Soon" is a more typical Holdsworth tune, but with a swing feel. There is a really pretty bit in the middle which gets interrupted by an annoying dissonant synth-noise (at around 5:30) which I cannot get used to, no matter how many times I listen. Overall, however, I love this track.

"Norwegian Wood" gets a modal treatment, and "Very Early" has a very relaxed tempo and a nice arrangement with Gary Willis playing the head on bass. Allan doesn't actually take a solo on this one, but comps and plays the head-out on synthaxe.

On the downside, I think that Gordon Beck's Piano Sound is really tinny and crappy. I would have liked to hear a 'real' piano at least !

Its hard to say who this album would appeal to - the "JAZZ POLICE" would probably hate it. I guess the target audience is jazz guitarists, since the main attraction is the brilliant and quirky guitar man himself.

This album is definitely worth checking out unless you are a purist that believes it is "Not Jazz" unless the guitarist plays an archtop. If this is the case then please don't bother writing your review - just leave it alone and let everyone else enjoy the music. OK ? Good. Thanks for that.

Well, Allan throws us another curve....and no 'Hold's barred! This is what Scott Henderson wishes he could sound like.....very contemporary sounding, but with the usual Holdsworth flare...his dexterity is rivaled by no other soooo smooth. exceptionaly fluid.I first saw Allan in the mid to late '70s with his I.O.U. band, after that i never missed him coming to Columbus, Ohio again....8 more times! plus I have had the honour to speak with Allan on 4 seperate occasions, once even having coffee and snacks before a show at Stache and Little Brothers, a small venue here..he is very modest...and thinks he can do better, saying he really pays attention to what his audience wants to hear..always thinking he fell short. My first meeting with him was quite an eye opener...I asked him why his album (this was before cd's) 'Velvet Darkness' had no credits. Well it seems this was a "Creed Taylor" bootleg ...the original was a fold out ..that gave the musicians names...(I was wondering who played the violin on it...it was allan). Allan told me he gets no money from that album and to take that album and, motioning with his hands told me to break it over my knee......needless to say I found the right one, I keep the other album the bootleg just cause I thot it might be rare..heh heh....sorry Allan.

Last night, I slowed down Holdsworth's solo on Isotope to half speed and tried to understand what was going on. I could hear the lines in my head, and everything seemed musically logical, but it wasn't until I tried to play it on the guitar that I fully appreciated the depth of his playing. The last time I had an experience like that was about five years ago, when I heard Wes Montgomery for the first time.

Holdsworth's guitar playing here is absolutely stunning. Although he has seemingly limitless technique, he uses it musically, as evidenced on his well-paced outing on Nuages. He has a great command of Coltrane's harmonies and chord substitutions, but it sounds intuitive and melodic, not forced or clinical. Simply put, I can't think of any other guitar player who could conceive of, or execute, the music that Holdsworth creates on this recording.

The supporting musicians are great as well, especially the bass player.

Unfortunately, the digital piano on this recording sounds dated, as do the tones that Holdsworth chooses for his SynthAxe work, and it can distract from the recording. So five stars for the playing and three stars for the sounds.

I have waited for years for this album and as usual am not disapointed with the end results. He is second to non and possibly the most important guitar player of this decade. Like Coltrane greatly misunderstood. I suggest to anyone with an open mind and a deep desire to know true raw creativity to see this man before he is gone. He is as influentual as any who has come along. Without him the whole spectrum of players that are here today would be different. Allan I salute you on your accomplishments, Thank you for sharing them with the world.

Mr. Holdsworth is a global musical treaure. His complete mastery of his instrument, unequivically unique soloing voice (both in tone and phrasing) and his stunningly beautiful compositions have given me some of my most pleasurable listening experiences of the the last 30 years.

I am unapologetically a Jazz fan - but I grew into jazz from rock and blues by way of jazz-rock/fusion. What a thrill to hear Mr. Holdsworth's interpretation of these wonderful standards! It may be to "soft" for some of his progressive fusion fans but for me, it's the recording I've been longing to hear (perhaps I'm not alone and thus the title of the recording?)

I believe it was Jimmy Herring, a wonderful guitarist in his own right (Aquarian Rescue Unit; Jazz is Dead) that recently stated in a Guitar Player Magazine article that "it will be another 50 years before we truely understand and appreciate (Holdsworth's) harmonic approach and sensibilities" - or something to that affect. I concur.

Gary Willis and Kirk Covington (from Tribal Tech fame with Scott Henderson and Scott Kinsey) are as tight and innovative a rhythm unit as there is and of course the great Gordon Beck has been a jazz presence since the late 1960's.

Although there isn't a bad (or mediocre) track on this recording, Joe Henderson's "Inner Urge", Coltrane's "Countdown" and the modern Beatles standard "Norwegian Wood" blow me away.

This is, without a doubt, very essential listening. Other Allan Holdsworth recodings I highly recommend are: "Road Games", "I.O.U.", first self-titled release of the band UK, Jean Luc Ponty's "Enigmatic Ocean", Tony Williams' Lifetime "Believe It", and AH's "Sixteen Men of Tain". Also, on Mike Mainieri's (leader and vibist with Steps Ahead) first Beatles tribute release "Come Together Vol. 1" has Allan (with the same band as "None Too Soon") playing a drop-dead gorgious rendition of "Michelle" - I HAVE to listen to it at least 3 times in a row, the solo is so killer!

Thanks you Mr. Holdsworth for all that you given us (please don't stop).

stew

I wont say much in here since there are not enough good words to describe this work from Alan and the band plays together with him this time. Everybody is amazing!!!!!!

I agree with the reviewer who thought the piano sound was a bit 'tinny.' In fact it's listed on credits as digital piano, and the biggest shame about the recording to me is that for whatever reasons, they didn't have an honest-to-goodness acoustic piano. Or even a better-sounding digital one! It just seems like the piano is a weak link in an otherwise perfect chain. I bet Gary Willis was thrilled to play with Allan. To me, the hidden gems of Holdsworth's recorded works are the bass solos. His players through the years have been top-notch and masters of their instruments, and it's a tribute to Willis to be included among them with this recording.

I only wish they could have gotten Alan Pasqua for this session, he and Allan have more history together and a deep respect for each others' playing. Still it's great to hear these 'standards' done in a more traditional jazz format, highlighting Allan's improvisational skills and fill the role traditionally occupied by a saxophone on the solos.

It doesn't get much better than this. Although I agree with one of the previous reviewers that the digital piano takes a lot away from the 'authenticity' of the recording, the playing is just amazing.
Allan is in top form on this recording, and definitely shuts any of the naysayers up when they say he isn't really a jazz artist and can't cut standards - absolute nonsense, which is solidly proven on this spectacular release.
Holdsworth is one of the most enigmatic, humble and freakishly gifted musicians out there today. The type of player that we're fortunate enough to come across once every 50 years, and that may be wishful thinking.
If you had any questions about Holdsworth's capacity to play over wonderful standards and add an abundance while doing so, this release gives you a declarative, definitive answer: Yes, he can!
A must have for the serious Jazz and or Fusion connoisseur alike.

Allan is incredible ...... I understood Coltrane's " Ascension" and Sun RA, Schonberg. Berg,and the rest of the avant -garde, rather easily when I first started playing back in the 70's..But Allan really made me back then , suddenly develop my listening ability to an unprecedented level very much like Eric Dolphy .

A grand musical genius of the highest stature humanity can produce ..and we are all the more blessed to live in his time!



Ney Mello
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I agree with a previous reviewer; hearing a great player play on standard song forms presents a terrific opportunity for analysis. That would be true even if the results weren't entirely asthetically successful, but in this case they are. This is truly beautiful music. And it's amazing to hear Holdworth step out into - what would seem to be - unfamiliar terrain, and how he makes it his own. No problem for him; changes are changes. He is very much like Coltrane, in that he's invented his own melodic/harmonic formulas that he's able to superimpose onto other tonal systems. Like with Trane; everyone might not get it (in fact, most don't), but his formulas work! It will be years before his innovations are understood and absorbed. For those that don't like this CD, I wouldn't worry, this was evidently a brief diversion; an indulgence.
Side note: wouldn't it be cool if Allan moved to New York and worked with some players there, at least for awhile? There are far more musicians of his caliber in NY, and I just think he would fit in better.