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Posts Tagged ‘Barry Cleveland’

Allan Holdsworth – Hard Hat Area (1993/2012)/ None Too Soon (1996/2012)

Posted in Fusion, Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , , , , , , on May 29, 2012|

TRACKLISTING:
1. Prelude (1:35)
2. Ruhkukah (5:32)
3. Low Levels, High Stakes (9:03)
4. Hard Hat Area (6:03)
5. Tullio (5:59)
6. House of Mirrors (7:44)
7. Postlude (5:28)

LINEUP:
Allan Holdsworth –  guitar, SynthAxe
Steve Hunt  – keyboards
Gary Husband – drums
Skúli Sverrisson – bass guitar

TRACKLISTING:
1. Countdown (3:09)
2. Nuages (5:40)
3. How Deep Is the Ocean (5:29)
4. Isotope (5:41)
5. None Too Soon Pt. 1 / Interlude / None Too Soon Pt. 2 (7:42)
6. Norwegian Wood (5:55)
7. Very Early (7:40)
8. San Marcos (3:22)
9. Inner Urge (6:15)

LINEUP:
Gordon Beck – digital piano, keyboards
Kirk Covington – drums
Allan Holdsworth – guitar, SynthAxe
Gary Willis – bass guitar

Yorkshire-born guitarist Allan Holsworth needs no introduction for progressive rock lovers of every persuasion. Before Steve Vai, Joe Satriani, John Petrucci and their ilk’s dazzling, faster-than-the-speed-of-light skills on the six strings gained worldwide success, Holdsworth had already attained legendary status for his work both as a solo artist and with the likes of Gong, Soft Machine, Jean-Luc Ponty and UK. Though the albums released in his own name are in the minority if compared to the sheer number of his collaborations, over the years they have become almost objects of cult in the community of jazz-fusion fans

Though I was familiar with Holdsworth’s work with bands such as UK and Gong,  I had not yet got round to exploring his solo output. Holdsworth’s reputation as the quintessential “musicians’ musician” may cause his work to be somewhat daunting for those who, like myself, have never touched a musical instrument in their lives. However, even laypersons can derive a lot of enjoyment from listening to music of such outstanding level,  although the nature of our comments will necessarily be “impressionistic”, so to speak, and probably even more so than in other occasions – as we will be unable to touch on any of the technical details essential for any practicing six-stringer.

Hard Hat Area and None Too Soon belong to the stage of Holdsworth’s full maturity as a musician and composer, as well as a pioneer of the iconic SynthAxe. Released only three years apart (respectively in 1993 and 1996), they differ quite noticeably in terms of  style and lineup. Both albums were out of print for a number of years before Leonardo Pavkovic of MoonJune Records (who is a personal friend of Holdsworth’s as well as fan of his music) took it upon himself to have them remastered and reissued – complete with exhaustive liner notes retracing their history, courtesy of Guitar Player magazine associate editor Barry Cleveland (also a fine musician in his own right). The distinctive elements of both albums are lovingly brought to the fore, with excellent sound quality that allows the listeners to partake of the seamless instrumental interplay without feeling overwhelmed by thousands of notes played at the speed of light.

As Cleveland points out, Holdsworth’s eight solo album, Hard Hat Area, is a logical extension of the guitarist’s previous efforts. It also marks the first time that he recorded an album in the studio with his touring band  (comprising drummer Gary Husband, keyboardist Steve Hunt and Icelandic bassist Skúli Sverrisson), instead of recording each track on his own and then adding the other instruments. Not surprisingly, the result are 41 minutes of music that are astonishingly proficient from a technical point of view, yet also warm and fluid, showcasing Holdsworth’s trademark style without detracting from the other players’ outstanding skills. Indeed, in spite of the sky-high level of proficiency involved, the listener never gets the impression that the musicians are showing off – unlike  much of the output of modern “guitar legends”. The music possesses that easy, natural flow that can be so hard to achieve, and the crystalline sound quality emphasizes the sleek, effortless nature of the interaction between the various instruments.

The album, conceived in near-symphonic fashion with a “Prelude” and a “Postlude”, is laid-back, at times even lyrical in mood. In the almost 10-minute “Low Levels, High Stakes”, Holdsworth’s guitar and SynthAxe take on a calm, meditative tone, reflected by Hunt’s lovely rippling piano and Husband’s muted yet stunning drum work. Elegant and full of melody, the textbook-perfect fusion of “Ruhkukah” proves once again that fast playing does not have to equal soulless shredding. The title-track, on the other hand, introduces some harsh, industrial elements through mechanical sound effects and a sharper, metallic guitar tone; The atmospheric quality of “Postlude”, enhanced by ethereal keyboard washes, allows Skúli Sverrisson’s splendidly understated bass to step into the limelight, while the SynthAxe engages in a sort of “duel” with the drums, emphasizing the almost uncanny chemistry between Holdsworth and Husband.

Even if released less than three years after Hard Hat Area, None Too Soon is quite a different beast – featuring a completely new band (including Holdsworth’s longtime friend and collaborator, the late pianist Gordon Beck) and a tracklist largely consisting of covers of jazz classics by revered composers such as Bill Evans, Irving Berlin and John Coltrane. While Hard Hat Area is a top-notch example of fusion, None Too Soon treads into traditional jazz territory, though the pervasive presence of the SynthAxe pushes it firmly into a contemporary context that might alienate hardcore purists. Gary Willis and Kirk Covington of US jazz-fusion outfit Tribal Tech provide an impeccable rhythm backdrop, often understated, occasionally stepping into the limelight. However, the real protagonist of the album – in some ways even more so than Holdsworth – is Gordon Beck’s fluid, scintillating piano, which complements Holdsworth’s playing with the effortless ease born of a long partnership.

Clocking in at around 51 minutes, the album features 9 tracks, two of which are Beck’s own compositions – the three-part title-track, with its almost lazy, relaxed mood, and the brisk, energetic “San Marcos”. The jazz novice will probably be unfamiliar with most of the tracks, except for The Beatles’ “Norwegian Wood” – here almost unrecognizable, with a dazzling, piano-led central section bookended by the well-known, Indian-tinged tune. An understated, atmospheric rendition of Django Reinhardt’s “Nuages”, with Beck’s magnificent piano complementing Holdsworth’s exertions, and Bill Evans’ elegant, romantic “Very Early”, which sees Willis’ bass emerge discreetly, are also among the undisputed highlights of a very solid album.

Needless to say, both albums are essential listening for any self-respecting fan of jazz-rock/fusion, as well as for guitarists who want to learn how to effectively combine speed and technical proficiency with melody and emotion. They also offer an invaluable introduction to Holdsworth’s solo output, as well as a genuinely enjoyable listening experience for those non-musicians who  love great music. Kudos to Leonardo Pavkovic for having rescued these excellent albums from oblivion.

Links:
http://www.therealallanholdsworth.com/

http://www.moonjune.com

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Barry Cleveland – Hologramatron (2010)

Posted in Ambient, Progressive Rock, Psychedelic, Review, tagged , , , , , , , , , on October 27, 2010| 5 Comments »

TRACKLISTING:
1. Lake of Fire (4:22)
2. Money Speaks (4:40)
3. You’ll Just Have to See It to Believe (5:22)
4. Stars of Sayulita (6:12)
5. Warning (4:20)
6. What Have They Done to the Rain (4:56)
7. Abandoned Mines (5:45)
8. Suicide Train (4:23)
9. Telstar (3:55)
10. Dateless Oblivion & Divine Repose (1:54)

Bonus tracks:
11. Abandoned Mines – Forest Fang Remix (8:26)
12. You’ll Just Have to See It to Believe – Alternate Mix (5:48)
13. Lake of Fire – Evan Schiller Remix (4:21)

LINEUP:
Barry Cleveland – electric & acoustic guitar, electric & acoustic 12-string guitar, Moog guitar, GuitarViol, sampled percussion, sampled Mellotron, voice (8), bass (8)
Robert Powell – pedal-steel guitar (1-5, 7, 9, 11-13), lap-steel guitar (4)
Michael Manring – bass (1-9, 11-13)
Celso Alberti – drums, percussion (1-4, 6-9, 11-13)
Amy X Neuburg – vocals (1, 2, 6, 9, 10 & 13).

With:
Harry Manx – vocals (4)
Deborah Holland – vocals (4)
Artist General – voice (5)
Erdem Helvacioglu – acoustic-electric guitar, electronics (3,13)
Rick Walker – chain-link drums, teapot (5), congas (4), dumbec (7)
Gino Robair – dumbec, kendang (6)

As anticipated in my previous post, here is my third review in a row of an album released in 2010 by MoonJune Records – and, like its predecessors, definitely one of the top releases of the year. Hologramatron, the fifth album credited to the name of San Francisco-based guitarist, composer and journalist Barry Cleveland (currently Associate Editor for Guitar Player magazine), has recently been submitted for the Grammy Award as “Best Alternative Rock Album of 2010” – and deservedly so.  A labour of love, whose recording took several years to complete, Hologramatron (whose title, according to the artist himself, means ‘whatever you need it to mean’) is one of those rare musical efforts that manage to sound like very little else. With derivative acts a dime a dozen on the current music scene, listening to such an album can be an exhilarating experience. Although Barry Cleveland’s name may be the most prominent on the cover, unlike your average ‘solo pilot’ release this is very much a collective effort, in which the input of each member of the band is recognizable, yet at the same time meshes with the others to form an organic whole.

Unabashedly eclectic,  Hologramatron has been called a modern ‘protest album’, and with very good reason – though only part of the songs have an unmistakable socio-political bent. However, it is first and foremost a collection of inspired, thought-provoking compositions performed by a group of amazingly talented, experienced musicians who manage to come across as an extremely tight unit rather than a combination of over-inflated egos. While vocalist Amy X Neuburg (a classically-trained singer, and a truly serendipitous find for Cleveland) may be relatively unknown outside dedicated avant-garde circles – in spite of an impressive curriculum as a composer and ‘avant-cabaret’ artist – the name of bassist Michael Manring is nothing short of legendary among four-string fans, and both drummer Celso Alberti and pedal-steel guitarist Robert Powell can claim a number of prestigious affiliations. When such collective talent is gathered together, the results may often be a tad underwhelming – especially when musicians forget that they are at the service of the music, and not the other way round.

Thankfully, this is not the case with Hologramatron. The impressive cohesion between all the artists involved, band members and guests, results in 10 tracks that display a remarkably original approach, even when external influences can be detected . While listening to the album for the first time, the closest comparison that came into my mind was with the late ‘90s – early 2000’s incarnation of King Crimson – and Robert Fripp is undoubtedly one of Barry Cleveland’s most noticeable sources of inspiration. In contrast with the majority of prog albums released in the past year or so, Hologramatron is based on relatively short compositions, none longer than 6 minutes –  and, indeed, half of the tracks are songs with a more or less ‘conventional’ verse-chorus-verse structure. The album might even be seen as a lesson on how to produce music that does not rely on 30-minute epics or convoluted concept stories in order to be progressive.

As I previously pointed out, eclecticism is the name of the game, with the hard-hitting earnestness of tracks like “Lake of Fire” or “Money Speaks” relieved by the inclusion of two covers of Sixties hit songs (which, in my personal view, do not really fit too well with the rest of the album), or the gentle yet emotional content of “Stars of Sayulita”. The psychedelic-meets-ambient component of Cleveland’s creativity (which was brilliantly showcased in the band’s live performance at ProgDay 2010) is here represented by the instrumental tracks, namely “You’ll Just Have to See It to Believe It” and “Abandoned Mines” – where Cleveland’s array of traditional and electronic guitars, effectively supported by Robert Powell’s pedal-steel guitar, Manring’s stellar bass and understated percussion patterns, weave subtly entrancing, multilayered textures.

On opener “Lake of Fire” (whose firebrand lyrics point a sharp finger at Christian fundamentalism),  Amy X Neuburg adopts two sharply different singing styles in the verse and the chorus – soothing, almost seductive in the former, venomously aggressive in the latter. The splendidly bass-driven “Money Talks” and the haunting “Stars of Sayulita”, graced by the warm, bluesy vocals of Harry Manx and Deborah Holland, follow a similar ‘mainstream’ pattern – as, obviously, do the two covers, “What Have They Done to the Rain” and “Telstar”, whose cheerful nature contrasts almost jarringly with the rest. Two of the tracks with vocals, however, diverge quite sharply: the ominous, electronics-laden avant-rap of the aptly-titled “Warning” (with vocals courtesy of long-time Cleveland collaborator Michael Masley, aka Artist General), and the tense “Suicide Train” (interpreted by Cleveland himself), an effort that borders on metal, featuring a beautiful, hypnotic guitar solo bolstered by crashing drums.

Running at around 64 minutes, Hologramatron is nowhere as cumbersome as many other current releases, though the three bonus tracks tagged at its end do not really add a lot (unless you happen to be a staunch completist) – with the possible exception of the remix of “Abandoned Mines” (nearly three minutes longer than the original), which possesses an eerily cinematic quality.  A masterful blend of mainstream sensibilities, socially-aware lyrics, intriguing atmospheres and stunning instrumental and vocal performances, this is a unique album that is warmly recommended to progressive music fans.

Links:
http://www.barrycleveland.com

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