Customer Reviews

Propensity

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The first time that Allan Holdsworth worked with John Stevens was in 1977, where a lot of material were recorded by the band in England. As a result of a lot of extended jam sesions and recorded rehersals were released: "Touching On" (1977); "Conversation Piece" (1980) and "Retouch" (1983); And now "Propensity" (1978)...

The interesting thing about this disc is that it is showing part of the Allan Holdsworth's "Acoustic Period" that goes from 1975 to 1979 with the following bands and tracks:

1. "Gone Sailing" with Soft Machine (BUNDLES, 1975);
2. "Floppy Hat", "Kinder" and "Last May" in his first ever solo album VELVET DARKNESS (1976)
3. "Shadows Of" and "Mireille" with Gong (GAZEUSE, 1976);
4. "Golden Lakes", "The Things You See", "Diminished Responsability", "She's Looking I'm Cooking" and "Up Country" with Gordon Beck in THE THINGS YOU SEE (1978);
5. "The Gathering" and "Sunbird", again with Gordon Beck in SUNBIRD (1979);
6. "Jools Tune" With John Stevens in PROPENSITY (1978);
7. And the introduction of his self penned track "Nevermore" for U.K. (U.K., 1978).

In this "Propensity" project the band was formed by Danny Thompson (Acoustic Bass), John Stevens (Drums) and Allan Holdsworth (12 string Acoustic and Electric guitars). Propensity contains just two pieces: the acoustic "Jools" and the electric "It Could Have Been Mono". It was originally planned as a mini EP. Recorded and mixed in 1978 at Island Studios, St. Peter's Square, London, England; failed to see the light in the english market by company problems but rescued it, and produced by Danny Thompson in 1997, and now this EP is in the market.

Unfortunately, It is well known that Allan Holdsworth does not approve all the John Stevens recordings, because Allan don't like the recordings made with the pressure in the studio or the hurry of the moment; as he has explained, in a fast recording the music might have some disgusting mistakes... That's why These CDs didn't appear in his official web page. But I must say that "Propensity", for sure, in the modern Jazz field, is the better John Stevens recording, because is really interesting to listen all the "free Jazz" soloing of Holdsworth (like in the good old days of Ornette Coleman or John Coltrane) in these two pieces. So don't miss the opportunity to add this disc to your collection... Good Luck!

I'm a musician, and I like to jam with friends. The results are varied, so I understand when someone is reticent about releasing "jam" recordings. But these are good! I'm a big Holdsworth fan, and I would say that this ranks with the best of his work. Honestly, I wish that he "stretched out" like this with his current work. Great Stuff and highly recommended!

This is an instrumental,unreleased cd from 1976.I would call it purposfull improv.It's under Danny Thompsons name,but is clearly an "Alan" outing.inventive as always & brilliant!My only complaint is it's way too short:25minutes.This was probably done aruond the time as the 2 cds alan did W/ John Stevens*(Touching on ,etal)mostly known as a freejazzer.Danny thompson being mostly known as bassist of "Pentangle" & early work (John Mclaughlin*(a cd of this also exists).Track 1 features Alan on 12 string gtr(!).Well recorded for its time:a definate buy!

This is a valuable document of a particular period in Allan Holdsworth's career as well as John Steven's. It is a very short but very fruitful meeting of two major forces in the music with the addition of a fabulous sounding bass player, Danny Thompson, to whom I've never had much exposure, other than his work with Pentangle. This is free/Jazz-Rock blowing of a very high order and Holdsworth uses his exceptional melodic sense and technique to expand to more adventuresome tonal territory than he was apt to be in then. Early McLaughlin of Lifetime is clearly influential here but Allan has established his own zone.

The opening "Jools Toon" finds Allan on 12-string acoustic, playing some semi-McLaughlinesque articulated chords while Stevens plays rapid free time and Thompson ad libs. Then Holdsworth plays some rapidly executed abstract runs that only he could do. He further gives forth with some more interesting out chords and sounded clusters while Thompson's bass sounds very nice behind him--busy and flowingly blazing. Holdsworth executes some more amazing lines, chromatically out there and richly expanded harmonically. Now Thompson plays a Mingus flavored assertion that's bluesy, hard and expanded against Holdsworth's exotic chords while Stevens gets quiet with brushes. Then Stevens goes back to sticks with a swinging pulse, Thompson now walking. Holdsworth gives out with more cool chromatic lines that have a machine-gun articulation. It's an impressive performance.
For the second number Holdsworth switches to electric six-string. "It Could Have Been Mono" is a longer excursion and it covers a great deal of ground. A quasi-"Lonely Woman" feel by the rhythm section compliments Holdsworth's rapid expanded-tonality runs. Stevens flirts with a Rock beat as he weaves around the swing and freetime pulse, giving a nice underpinning for Allan's outer excursion. Now Allan plays out chords while Thompson plays a good bunch of strident bass. Then Allen launches into some more blazing runs that do not land firmly on any pitch center but imply one that Thompson hints at as well. Thompson then gets the spotlight in a forceful solo that's Mingus & Haden and more besides, like perhaps a little Scott Lafaro? A loose bombastic swing from Stevens sets off a new torrent of guitar runs, with some repeating phrases to build excitement and tension, then off to the wide ranging runs all over the place. Stevens definitely pushes Allan along with Thompson solidly doing the same. Sevens gets a solo drum spot with lots of snare and toms and dynamic tension. The group comes back in for a Blues inflected finale. Thompson solos strongly in this groove, then Stevens comes swinging in with heat and Holdsworth in turn takes up the blues tonality and he plays in and out of it nicely. A fine ending to a fine outing.

It's a pity there isn't much else out there like this from the mid-to-late '70s period but the 26 minute teaser Propensity is a revelation and a great listen, too. A must for Holdsworth fans and those who appreciate great guitar trios in an outer vein. It also shows Danny Thompson to be a bassist of good taste, skill, and power. Oh, and John Stevens fans will dig this one too, I am certain.

Grego Applegate Edwards - Cadence Magazine

How many good studio recordings from the last 4 decades or more, lie lingering in the vaults of recording studios or in a deep and dusty nook of a musician's loft? These seem to need some good memories of those involved and then painstaking searching to recover, (master, etc.) and release; 'Propensity' appears to be one of these records that deserve recovery and fuller exposure.

The two recordings on this ep were made in September 1978, but not mixed until 1997 by a rare ex-pupil of Holdsworth, Jakko Jakszyk, and finally mastered early summer 2009 in the USA. The music finds Holdsworth during a very busy period of self-evaluation at the end of the 70's (including doubts about being in the music industry), and at the same time experimenting across a broad range of jazz (e.g. as illustrated by the radio broadcasts with John Steven issued over 3 CDs, the two albums recorded in France with Gordon Beck, industry rejected demos with Hiseman and Bruce, and according to Gary Husband laying down the 'IOU' album - which itself was released several years later). John Stevens ran a "school" of jazz improv and was well known in the UK for being one of the top free drummers. Danny Thompson was very much in demand on the UK folk circuit but also known for his uncompromising jazz playing. BTW one of the best folk rhythm sections I've heard, is that of Thompson and Stevens found on John Martyn's 'Live At Leeds' album.

The liner notes here are relatively limited (for instance, there is no answer to why there are only two tracks lasting approximately 26 minutes here?). So I guess these recordings were done in a similar way to the John Stevens/Allan Holdsworth radio recordings of this period, predominantly as improvisation. And with this probable spontaneity by a trio who seem to know each other well, most things are melodic. The playing skills of all three musicians are of the highest orders and pleasure to hear. And for me, the real joy is a rarity, an extended 12-string acoustic guitar solo by Holdsworth on the first track, 'Jools Toon'. The second track is longer and find Holdsworth playing electric guitar, flavoured with some of his signature playing.

This ep will be of great interest to Holdworth fans in particular, (e.g. Julian of the Mighty Boosh!!!), filling another brief gap in his musical history. But fans of Thompson (note who's name comes first in this pecking order), and Stevens will take great pleasure from this too.

R. J. Heath "djaitch"