Customer Reviews

The Sixteen Men of Tain

5 star:		(20)
4 star:		(2)
3 star:		(3)
2 star:		(0)
1 star:		(2)

 

 

Just when you thought Allan Holdsworth had run out of steam..... he produces this, his best work to date, and well worth the 4 year wait. Not only does he extend his solo and chordal playing to the next level, but his composition has matured also. Allan is joined by the talents of Dave Carpenter on bass and Gary Novak on drums, plus guest spots by Chad Wackerman and Walt Fouler. Just listen to 0274, Texas and the title track Sixteen men of tain.....you'll be amazed. Since buying this album, I haven't been able to listen to anything else.

This is probably Holdsworth's best album, and his first to completely satisfy me, allowing me to finally cross over shamelessly into the fellowship of blathering fandom. Holdsworth's less endearing eccentricities are overshadowed here by the range of material which references free and hard-bop traditions at times, and by an exquisite sonic balance between the acoustic, electric and electronic elements of the music.

Holdsworth was clearly seeking some kind of grounding in the underrated "None too Soon", emphasizing both his place in the jazz tradition and his predeliction for contemplative, "chamber-jazz". While that disc focused exclusively on both hard-bop and cool elements, thereby sounding somewhat forced to Holdsworth's fan base, "16 Men of Tain" showcases the impressionist side of guitar jazz in a handful of pieces that are alternately intellectual and pastoral, pieces that recall John Abercrombie and early Pat Metheny, but (IMHO) surpass anything by either of those very very important musicians in terms of sheer melodic attractiveness, structural elegance, and even expressiveness. "Above and Below" and "Eidolons", in particular, literally made me gasp when I first heard them. From what I have just gushed out, it should be obvious that Holdsworth is much more clearly grounded in this modern guitar tradition than with the one evinced on "None too Soon".

However, to his credit, he balances out these pieces with others that recall his earlier albums (including "None too Soon). Thus there is a sense of variety here that is missing on many of his other records. This variety is also evident in the instrumentation of the album. Keyboards, digital and otherwise, are absent, replaced by acoustic bass and occaisionally trumpet (!). Holdsworth also plays much more undistorted electric guitar on this record than he has in the past. The guitar synthesizer does not dominate the procedings as was the case in other Holdsworth recordings.

All these factors combine to make this the some of the most satisfying jazz music I've ever heard. Holdsworth's usual strengths are by no means diminished here. His compositions on a purely formal basis are on the level of Ellington or Mingus, and while most of the avant-garde has emphasized melody at the expense of harmony, Holdsworth revels in lush harmonies, rolling out entirely original chord progressions of stunning beauty with every record he makes. His famous technique is, of course, the main reason people listen to him. These assets have made Holdsworth's worst releases worth listening to, but now there is no question as to the one indispensable Holdsworth recording.

The American release includes two previously unvailable tracks.

AH defies category, he is firstly a musician of the highest caliber. The depth of his composition is astounding. He has always pushed himself to the highest level and has never been satisfied. That hunger has allowed us fortunate listeners to enjoy an artist at the top of his form, yet always inspired in his continuance of evolution. And so 16 Men of Tain achieves what it sets out to do. A return to the apex, AH is in top form on this release, his sidemen for this outing truly add value to the tracks as only top-flight musicianship can. I appreciate the trip concept and the lack of keyboards although evident, is something of a relief, now one can sit back and listen to Mr. Holdsworth tonal pallet in it's purest form.

What we the listening aficionados MUST do is get the word out to all of our friends and associates. Champion this artistic giant. Purchase his products. Write to venues and associations to support his efforts.

There was a period an Allan's career when his work was going unnoticed and the artist was in dire circumstances. Thanks to good patrons and friends he was able to rebuild his production base and continue on. It's so wonderful to see his work succeed, especially in a "biz" which caters to mass-market appeal and not the vast musical palette, which is really out there beyond the corporate understanding. That is where the art and the artist dwell and that is where Allan Holdsworth has made his musical abode. The 16 Men of Tain shows us both the art and the artistry of Allan Holdsworth. Enjoy!

Having been an Allan Holdsworth phreak for almost 15 years, I can say without hesitation that this is his most adventurous effort yet - shedding keyboards in favor of a trio setting with acoustic bass and drums. Even if you're not a "electric guitar fan," you will delight in Allan's absolutely fluid and mindblowing technique. The arrival of "Sixteen Men of Tain" in 2000 finally allowed us fans to released our baited breaths and revel in a wonderful creation. I've heard the playing on this new release termed "mature," although I think there are better adjectives for the beautiful intensity and style found on "Men of Tain." "Texas," the most ambitious track on the disc, is one of the most powerful and certainly so when performed live. Drum virtuoso Chad Wackerman also contributed a track to the disc on which he also plays. "The Drums Were Yellow" is a tribute to longtime collaborator and influential drummer Tony Williams, who passed away in 1997 after a sudden illness. A must-have for Holdsworth collectors and those who are curious about the fusion guitar master's revered playing techniques.

If you enjoy virtuoso guitar solos with a fat, sustained tone, Holdsworth has no equal, not even a close second that I know of. (Take, for example, Holdsworth's partner on at least one recording, and the most-working fusion guitarist of all time: Frank Gambale; -THE- master of sweep picking,(probably the best right hand in the world with a flat pick). His work with Chick Corea requires his grasp of all music to be without peer; yet, to my ears, Holdsworth leaves him in the dust.) At times, it seems as though he might now know every possible combination of notes that will fit well over any given chord pattern; he certainly has the chops to fit them in perfectly. Although I'm mostly a fan of somewhat more 'down-home' styles,when I hear a blues player beef up his sustain and mids to try and 'modernize', I replace the cd with '16..', by the master of the concept, Holdsworth. I must add that I believe Gary Novak to be the most perfect drummer for AH; his relaxed power and seeming-four-handedness astound me more and more according to how much I focus on the drums, while he blends harmoniously into the band.

This is the most organic Holdsworth album there is to date.Everything is flowing in the most natural possible way, breathtaking new melodic ideas flows from the guitar as if Holdsworth would have been studying music for 200 years..... This is unique.

How could I be the last one in the world to find out about Allan Holdsworth? What a phenomenal guitarist! I took a chance on his live album "All Night Wrong" and was blown away. He's easily one of jazz fusion's best. An Englishman, Holdsworth first started with the group "Tempest" before drummer Tony Williams asked him to replace John McLaughlin in his Lifetime project. He appeared on two more of Williams' albums before joining French-English rockers "Gong". In the late seventies, Holdsworth began his solo career. "Sixteen Men of Tain" has such a simple, straightforward rockin sound with Walt Fowler making two guest appearances on trumpet. Holdsowrth's trademark synthaxe is even less apparent on this album. Why not buy this album (and "All Night Wrong") and give some love to one of jazz fusion's most underappreciated guitarists.

I used to think that creating music (or composition) involved writing unforgettable melodies. I have found an exception to this rule in Holdsworth's work. In my opinion he has a totally harmonic or vertical approach to songwriting: great chords, inventive use of scales, and not a hint of recognizable melody (this is why it's refreshing to hear Allan play a standard from time to time). And it works wonders since Holdsworth is undoubtably one of the most technically proficient guitarists in modern music.

There are few surprises to be found for those who already know Holdsworth's work. In my opinion the only major difference with Secrets, my favorite, is the lack of a keyboard-player and the new sound of the acoustic bass. I think these changes are for good - I have had occasional diffuculties with the huge synth mats on some previous albums. Besides, the synthaxe is a rather versatile instrument.

For those not familiar with Allan's work I think this album is full of surprises since that is the nature of Allan's "basic concept". When the notes come pouring in, you can never expect what the next turn will be. The sound is painfully perfect. The notes seem to burst out of the guitar effortlessly. I don't think any other guitarist could play as many notes in a second as Allan does and not be totally boring. But Allan's harmonic mastery and his exceptional technique make it sound natural, remeniscent of Coltrane's sheets of sound.

My favorite pieces on this album are the title track and the tribute improvization for Tony Williams (The drums were yellow...)

Saku

This album is my favorite from Allan of the ones I own (Metal Fatigue, Atavachron, IOU, Hard Hat Area). The reason I like this so much is that he is less abstract and plays more in the groove. It is a bit more like traditional jazz and is more lyrical in quality. He keeps his Holdsworth sound and interesting chords and solos, but he seems to use them more effectively to convey musical ideas. I think Gary Novak's drumming really adds to this CD because it fits so well with Allan's style.

Some of the highlights: The opening song, San Onofre, has some really cool solo runs that fluidly span a chord progression. The Sixteen Me of Tain has a cool chord progression and the solo about 3 minutes into the song has some interesting bends and runs that caught my ear. The Drums Were Yellow is basically a big solo. All in all, the songs flow together well and balance pure guitar playing with musicality.

I ordered '16 Men of Tain' upon its release in 2000, and currently own the specially autographed copy bought from my friends at Gnarly Geezer Records.

'16 Men of Tain' is a CD that every guitar and quality music afficiando should own (at least those who can appreciate fine musical craftsmanship). Allan Holdsworth is the Grand Master of the guitar, not even arguably. I have personally witnessed his unbelieveable fretwork live on many occasions, most recently in November, 2001 at The Baked Potato in Hollywood, and no one even comes close to his 'hurricane of sound' which features blistering legato moves and his legendary reach.

'16 Men of Tain' showcases the best of his talent, 38 years after he first chose the guitar over the saxophone, his first love. Starting with '0217', Allan takes the listener into the ionosphere with a soaring solo, followed by Walt Fowler's excellent trumpet contribution. Track 4 is a tribute to his old friend and legendary drummer Tony Williams. Allan absolutely shreds the fretboard...I couldn't think of a better tribute to his days with TW's Lifetime than this number. The next track, 'Texas', is one of the best he's ever done. In a nutshell, this CD is proof that the Grand Master is getting better with age. When I finally met him in person last November after listening to him for 20+ years, I had the chance to tell him just that...and being the humble guy he is, he shook my hand and thanked me. I'll never forget that. This CD is a must-buy!