HOLDSWORTH LIVE IN ROME 

Great observation👌

Sounds like Allan to me.

God need,s a lesson.

Yeah, He‘s ripping!

No doubt. Talk about the ultimate power trio lol. And no kidding about Mr. Donati; he's long since joined the ranks of Cobham/Williams/White etc for a long while...he's fucking supernatural on that kit.

Virgil is better than all three IMO - he has so much depth he should replace the Atlantic.

@@TheFissionchips I can't really disagree LOL...I revere a lot of drummers but Virgil is at the top right now IMHO, until another innovater arrives on the scene. Not to mention his body of work as a composer. I honestly he's surpassed Cobham in the regard, as much as I love me some Billy LOL

It's funny, I was listening to this and was like, "Wow, the drummer's style has a major Virgil Donati influence.." and then I looked at the video lol. About 20 years ago I saw Virgil at a drum clinic in Connecticut that was sponsored through Dynamic Percussion (saw Terry Bozio that year too, dude had like an 80 piece kit haha, all Virgil needs is a 4 piece to sound just as good)

to me, Virgil is all the good things about Weckl and all the musicality of Simon Phillips.

For a moment, I thought you meant the Poet. Seriously, speaking of Rome.

check out ben monder

check planet x moonbabies (tech metal/fusion with donati at drums)

he played with vai

YEAH MAN HE DO FOR REAL.

I don't think he plays the same pattern more than four bars...

@@chrismcmullen4525 Yeah, it's almost sad the way Holdsworth is relegated to the background- almost like it's the Donati Show. incredible drummer, though. I thought Colaiuta was busy, lol. Donati makes Vinnie look like he's playing with one hand.

@@garyaich4305 I think the difference is that, Virgil works way more with Toms and Vinnie does his busy stuff on the cymbals. But if you listen to the whole, Alan is not in the back, listen to the concert without watching. As for his skills, He puts more hours in than Magini !!!!!

Frank Black I saw a “supergroup” (as they were billed) in LA around 1989: Allan Holdsworth, Aierto Moriera, and Stanley Clarke + a couple others.

@@arcaliasgiants9813 the 'Jazz Superband'. Recordings and bootleg CDs exist.

Agreed

Fully Agree! If Earth were invaded by alien life forms, I'd put these guys at the defensive front. RIP the Master Holdsworth.

Soft machine was the best playing and music

Machine-like my ass, Allan was the only guitarist who made me shed tears...RIP

ASTRAL PONY “Machine-like”? Holdsworth was the least “machine-like” musician I’ve ever heard! Only a musical ignoramus could possibly listen to Holdsworth’s playing and call it “machine-like”.

@@RobotChampionSC He's made me absolutely WEEP many times. I mean tears _streaming_ down my face. Low Levels being a notable instance. No other music has ever come close to affecting me in that way.

​@@lex.cordisEndomorph & others too...

@@jfo3000 Zarabeth, Nostalgic Lady, Final Project, You Came Along, so on and so on. There's no end.

LMAO no doubt...wish I could have caught them before Allan passed. Cherish that memory friend, you saw some greatness in action.

You went one step closer to the Creator when you saw Alan.

Allan was awesome, and that's all there is. As painful as it is to face, he's dead; not playing in another Galaxy.

Pat yourself on the back.

@@dmacrolens Lmao!

That’s not accurate-- he’s a fusion Jazz player,,, He couldn’t touch Roy Haynes or Jack DeJohnette or Philly Joe for that matter-- he would not even come close-- different world.

Really cool beat he has going at around and after 14.

Statues remind me of the MVP: Truth in Shredding album cover (which to me is a good thing).

No free jazz in here. closer to contemporary music. Great group, immense Holdsworth.

@@Rhaaboudin fusion...?

But Chamber's sound is unique and he uses traditional kit and cymbals. Virgil, Lang, etc sound the same.

@@kcorpora1 none of them sound the same.

$250K is not exactly 'poverty'

@@s1iznc1d34 How people would overate someone who has no real peer is purely ignorance. His approach was so far and away an advance of what is possible on a guitar. To call his alternate picking performance as a weakness is simply silly. It was a personal choice in order to get the softer, more flowing sound that he wanted. The legato approach was more about controlling the sound of the notes so there would be minimal attack, much like a saxophone, which he openly discussed as his main influence. Do some research. Alan could have focused on being another speed demon with a pick and there is more than enough proof of his technical prowess there. Here's a list of quotes from the guitar gods which will hopefully give you some respect: www.sputnikmusic.com/forums/showthread.php?t=320276

​@@s1iznc1d34 Your definition of Allan's genre is pretty pedestrian. First of all, if you look at the comments in my link, there are as many rock gods in there as there are fusion style players. But the only one who is closest to traditional jazz technique would be Pat Metheny. And Pat is really the one in that list who could be said to be a "progressive jazz" player. As for "progressive jazz... to the extreme" what the hell is that supposed to be? Allan's comments on how he approached melody and harmony was on the level of John Coltrane''s explorations. And since John's playing launched a majority of what we call mainstream, modern jazz, it's more the norm than extreme by any stretch. But nobody has transcended what John created in his body of work, not even close. So you have Allan's "style down" do you. Only after 3 tunes? That's funny. Go ahead and play some of his stuff and we'll see about that. But still you say that his alternate picking abilities area sign of inferiority because he deploys selective picking combined with legato. And the "one note per string" comment is hilarious. Anyhow, you don't know nearly as much as you think you do. All you hear is that his left hand is making more notes than his right and you feel that's a form of cheating, more in the realm of technical deficiency or laziness. Because you don't really understand Allan Holdsworth at all. You simply cannot by the limited range of your comments. Allan developed his technique to achieve a level of control on how notes were accented. Much like a woodwind instrument can be played softly or sharp by how the breath is applied, Allan wanted to have control of where these accents would fall. But the way you would have it, Allan simply couldn't play a certain way and decided to cover it up like an elaborate and clever combover. And even in the light of reading the following quote from Allan himself, you will stick to your opinion and feel that you have some superior insight because you play. “You have to make your finger hit the fret just a fraction of a second apart from when the pick strikes the string, and then it won’t have the front of the note. Like I said, I’ve practiced a lot to emphasize different notes - because I hated it when I used to listen to what I’d done, and I’d say,’ there’s the pick, there’s the hammer, there is the pick.’ I thought, Screw that. I want to make it so you can’t tell which one’s which.” Kenny G tries to play John Coltrane every once and awhile. And it proves how little he knows about John's music and technique. But Kenny thinks he's got John's "style down" too.

@@s1iznc1d34 My god, did you even read what I wrote? Of the list of quotes from the guitarists on that link, Pat is the only one to have consistently performed in a traditionally jazz-oriented context. I could probably name 10 revolutionary jazz guitarists you've never heard of or likely ever heard let alone understood. You state that you don't listen to saxophone let alone John Coltrane. Well, that's enough to say that you have absolutely no worthwhile frame of reference to understand the major roots of Allan's playing or any modern jazz guitarist. You really are out of your depth here. It's a case of you not understanding something therefore it's irrelevant, wrong or stupid, which is unbelievably depressing but typical in this day and age. If you're a fan of Jimi Hendrix and nearly everyone who's emulated his approach to sonic expression on guitar, then you are hearing how the likes of John Coltrane or Rahsaan Roland Kirk or Ornette Coleman influenced him.Get the fuck out of criticizing masters of genres you don't even listen to or remotely understand. It's so goddamned annoying.

@@s1iznc1d34 I'm afraid it's you who doesn't understand his music or approach to guitar because you know nothing about his influences, their music and the expression Allan was trying to emulate through his technique. So how on earth you can derive that he was overrated and technically deficient is really the whole point of why I bothered to say anything in the first place. And you still don't understand.

​@@s1iznc1d34 Those are not personal attacks, just simple matters of fact.