None Too Soon

Artist: Allan Holdsworth
Label: Cream
Category: Music

Average customer rating:

Format: Import
Media: Audio CD
Number Of Discs: 1
EAN: 3383001868723
ASIN: B000024N4C

Release Date: 2005-06-23

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Tracks:

Countdown
Nuages
How Deep Is the Ocean?
Isotope
None Too Soon, Pt. 1/Interlude/None Too Soon, Pt. 2
Norwegian Wood (This Bird Has Flown)
Very Early
San Marcos
Inner Urge

Similar Items:

Wardenclyffe Tower
I.O.U.
Secrets
Sixteen Men of Tain (Spec)
All Night Wrong

Customer Reviews:

takes a risk - no sweat.......2006-05-24

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.

Its nice to hear Allan do some blowing on standards.......2005-03-13

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.

gracious, sublime, enthralling, beautiful.......2004-07-23

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

A change for the worse!.......2004-01-30

I have appreciated this extraordinary musicians work from 'Velvet Darkness' and through his many guest appearances with the likes of Bill Bruford, Gong, Tony Williams and Jean luc Ponty.
Apart from some intermittent purchases that include 'IOU' and 'Secrets', I had not been up-to-date with his output until the last few months and have managed to acquire several of his own albums in this time including 'Road games', 'Wardenclyffe Tower', 'Atavachron' and 'Hard Hat Area', plus 'Oneness' by Andrea Marcelli - another guest appearance. For the most part Allans creativity and skill have been satisfying and enjoyable. I am actively trying to obtain 'Sand', 'Sixteen Men of Tain' and 'Metal Fatigue' on the basis of having sampled some tiny soundbites!
This album is the first I have been instantly disappointed with. I believe that 'Jazz Standards' have no place in this musicians repertoire, leave their re-interpretation to others.
The overt 'Jazziness', or should I say 'wandering, aimless noodling and musical athleticism' are a poor way to hear this experts effortless ability to play the guitar etc;
The nature of the content of this album is entirely due to the musicians that accompany Allan this time around. The chemistry and ingenuity are not the same.
Bring back the likes of Gary Husband, Chad Wackerman, Steve Hunt and Jimmy Johnson, or just leave it all to the man himself!
Exploring or, should that be indulging, in new avenues should at least break some new creative ground.

It swings........2003-06-17

Mr. Holdsworth is akin to Roy Buchanan (the late bluesmaster) with respect to being a "great unknown guitar player." It is difficult to find his work in stores. Guitarists know he is superb--speed, creativity, tone, fluidity, he has it all. He straddles progressive, instrumental rock and jazz. This recording is more jazz than anything else. It features some jazz standards and has more interplay between musicians than you will find on some other Holdsworth outings such as those with his IOU group. All the cuts are instrumental.

One complaint: the piano is neither pure electric in sound nor acoustic. It is a pseudo-accoustic electic, which doesn't sound very convincing in tone. The playing, however, is quite good. The comping on "Norwegian Wood" is a bit clunky at times.

Holdsworth is a genuine artist--exploring, questing for new ground, often disappointed with his work (see other review on this), but pushing onward. This is one reason he does not bask in fame. Few in this category do, with the exception of John Coltrane--an artist with whom Mr. Holdsworth has no few affinities.

Douglas Groothuis

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