His career has been distinguished by two hallmark traits: virtuosic skill, and an ability to manipulate his sound technologically. As a champion of guitar-technology, he’s utilized a range of guitar-based synthesizer controls to shade and texturize his signature rhythmic and polymetric excursions. Check out his use of the SyntheAxe on his 1988 album Sand, to experience the extent of the instrument’s tonal possibilities.
And like most great musical artists, he’s kept great company. Holdsworth has worked with some of the finest drummers to ever sit behind a set, and given the chance, Allan will speak about them with effusive enthusiasm.
Allan Holdsworth: I just always remember that my father taught me that the drummer makes the band. It kind of stuck. I’ve been really lucky to play with a lot of great drummers. Most of it was just by accident. From playing with Jon Hiseman [in Tempest] and then John Marshall [in Soft Machine]. Then Tony Williams. Then Gary Husband.
Paul Jonason
AH: Each one of these players can radically change the music just by their interpretation. Most of [my] music is written as a vehicle for improvisation, so of course when you’re playing with somebody, what they play is going to influence how I do what I do. If I’m playing with one guy and he’s moving in a different direction, I’m not going to fight it, I’m just going to go that way. Luckily, at least from my point of view, there’s never been any war at all. It’s just beautiful. I really enjoy the differences and each of their abilities.
DH: When you’re alone and experimenting in the studio, mixing your own tracks or recording them over and over again—as I understand you do—do you keep the drum tracks pure? AH: I used to do that because I wanted the bass player and drummer to be happy with their performances. If we got the drum track [right], I stopped caring about what I played. When the drummer’s happy, and the bass player’s happy, then that’s the track we’re gonna use. Because I’m lucky, I can fix it, those guys can’t.
themselves to the max. Maybe they enjoy that. Or maybe not, I’m just guessing.
By the time Holdsworth joined The New Tony Williams Lifetime, Tony had well established himself as one of the pioneers of jazz fusion. Tony had been pivotal in Miles Davis’ electric incursions on albums like Miles Smiles and Filles de Kilimanjaro. It was Tony who had introduced Miles to John McLaughlin, paving the way for McLaughlin’s contributions on Miles’ In ASilent Way. To become part of any Tony Williams group was a stepping-stone into musical history.
DH: How did your involvement with Tony Williams come about? AH: From what I remember, [ Tony] was looking for a guitar player and he ran into [bassist] Alfonso Johnson, so when Tony said he was looking for a guitar player, [Alfonso] said you might want to check this guy out. Then Tony called me and said that he was going to do an album in Sweden. We did the album in Sweden, which never came out as far as I know. After that album he went back to The States, then he called and asked me if I wanted to go over there. I did.
DH: Have you ever provided the drummer with a programmed part? AH: No. A tempo maybe. Some of the songs I did I’ve actually recorded everything except the drums, and then of course they’re going to play with a click. But I never tell them what to play. I think that’s one of the things that drummers seem to enjoy. Each one of these guys can just be
DH: Did you find it odd that a drummer was so influential in creating this fusion sound? AH: I don’t know if it was odd, just incredible talent. Nobody played like that before and nobody’s played like that since. The way that he played that kind of music, it’s still one of a kind now. I wasn’t even aware of it. I don’t think any of us were. I don’t think any
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