What The Critics Say
When drummer Tony Williams died of a heart attack on February 23, 1997, at the relatively young age of 51, it was a tremendous loss for straight-ahead post-bop and hard bop as well as for fusion. Williams had numerous acoustic jazz credentials (including his contributions to Miles Davis' legendary mid-‘60s quartet), and his band Lifetime was one of the most important fusion outfits of the ‘70s. The late drummer's fusion side is what electric guitarist Allan Holdsworth, electric bassist Jimmy Haslip (of Yellowjackets fame), keyboardist Alan Pasqua and drummer Chad Wackerman pay tribute to on Blues for Tony, an excellent two-CD set that was recorded live in 2007. Forming a quartet, the improvisers remember Williams not by trying to sound like a carbon copy of Lifetime, but rather, by celebrating the overall spirit of Williams' fusion output. Holdsworth, in fact, worked with Williams when he replaced John McLaughlin as Lifetime's guitarist in 1975; it was a brief association (Holdsworth left Lifetime the following year), although certainly a noteworthy one. And like Lifetime, this quartet (which performs mostly material by Holdsworth and Pasqua) demonstrates that being influenced by rock and funk and making extensive use of electric instruments doesn't mean that a group cannot maintain a jazz mentality. In fact, Blues for Tony thrives on a jazz mentality. Improvisation and spontaneity prevail, and even though Blues for Tony is by no means straight-ahead acoustic jazz, the quartet's amplified performances can easily be described as "the sound of surprise" (to borrow a term coined by the late jazz critic Whitney Balliett). These performances underscore the fact that--contrary to what myopic jazz purists and bop snobs would have us believe--fusion is not pseudo-jazz. Fusion is authentic jazz, but it's authentic jazz for people who also appreciate rock and funk. Blues for Tony is an album that fusion lovers shouldn't miss. ~ Alex Henderson, All Music Guide
'Truth in Shredding'
What The Critics Say
MVP stands for the Mark Varney Project. He has been a longtime recruiter of guitar speed demons such as Yngwie Malmsteen and Tony Macalpine. Here he brings together accomplished and established players. It is a very intense fusion recording that can be an intimidating listen both in terms of technique and the consistent intensity maintained throughout. The metal-influenced Frank Gambale is one of the pioneers of the sweep-picking technique that allows him to generate mind-numbing speed. Allan Holdsworth proves a good counterpoint, as his unique approach also produces lightning-quick runs. Guitar fans, especially the younger crowd, will appreciate the extended solos and lack of any commercial hooks here. It is basically a blowing date; however, it pales in comparison to a jazz blowing date because the players quickly run out of ideas and continuously revert back to familiar territory. This is not to say that the musicians don't deserve credit for their playing -- quite the contrary; it's just that the abundance of linear scales and repetitive patterns proves tiresome. Out of the two, Gambale seems a bit more inspired and more comfortable in this setting. Tommy Brechtlein turns in a fine performance on drums, especially when given some space on "Bathsheba." If taken in short doses, the impact of this recording is more effective. Recommended for fans ranging from fusion to progressive to metal. ~ Robert Taylor, All Music Guide
What The Critics Say
Short but sweet: this 24-plus-minute re-release of an '80s-era solo effort originally appeared as a vinyl EP, and has never before been issued on CD. It is a unique mix of great vocals with a more rocking, bluesy, and jazzy quasi-mainstream song-themed balladic thrust. This release showcases Allan Holdsworth playing less "out there." Don't misunderstand -- the guitar is amazing: multi-voiced, fusion-fired, ethereally chorded, delightfully crystalline clear, note-flourished, and swooningly embellished. Add in the vocals of Jack Bruce for that Cream flashback or the I.O.U. band feel of Paul Williams' crooning, back to back with killer bass by Jeff Berlin and tastefully poised drums by Chad Wackerman, and you have fusion-rock bliss.Holdsworth addicts have waited a very long time for this to appear in the CD format. So go for it. It sounds great all over again. The original album cover graphics and notes are included. ~ John W. Patterson, All Music Guide
What The Critics Say
Guitar hero Allan Holdsworth often performs with his peers. Such is the case with this live setting recorded at a venue in Japan during a 2002 tour. On this release, the guitarist leads a trio featuring longtime musical associates, drummer Chad Wackerman, and bassist Jimmy Johnson. To that end, the respective musicians' talents are well-known entities. Wackerman and Johnson can handle the trickiest time signatures imaginable. Along with the nimble flexibilities and odd-metered excursions witnessed here, they exude a force of power that serves as a meaty foundation for Holdsworth's mighty licks. A wonderfully recorded album, Holdsworth's climactically driven legato-based riffs are intact, as he also implements jazzy chord voicings and delicately stated fabrics of sound. But the trio raises the ante throughout many of these pieces, awash with moments of nuance and controlled firepower. In sum, Holdsworth's legion of followers should be pleased with a recording that should rank among his finest efforts to date. ~ Glenn Astarita, All Music Guide
''Igginbottom's Wrench'
'Then! Live in Tokyo'
What The Critics Say
While electric guitarist Holdsworth retains his signature ultra-legato, speed demon sound, he has added a couple of new wrinkles to this date. He's attempting to play some legitimate jazz standards, a couple of Joe Henderson tunes, and other sidebar items. He's also working with the synthaxe, a synthesizer controller, on three cuts. The most revelatory moments of the date come from the acoustic sounding digital piano of Gordon Beck, a true master whose be-bop chops and inventive solo work cements the legitimate jazz aesthetic into the fiber of this music. Electric bass guitarist Gary Willis (of Tribal Tech) and drummer Kirk Covington work pretty well together, and swing, albeit in a more rock/R&B orientation. Holdsworth has a predilection for stating melodies very briefly before immediately going into a solo. This is most evident during John Coltrane's "Countdown," where he tosses out the theme with nice chords, then rips into his distinctive flowing single 16th and 32nd note lines. Holdsworth is not all flash -- he comps frequently and tastefully, as on the well-played Henderson piece "Isotope," getting out of Beck's path as the pianist digs into an aggressive, melody drenched solo. A 6/8 take of "Norwegian Wood" is quite interesting, with Beck's modal piano chords and Holdsworth's guitar melody working in opposing keys, adopting a sound closer to John Abercrombie. The leader skates around the melody of "How Deep Is the Ocean," with Beck proving himself a superior, cliche-free improviser reharmonizing the changes. Synth dominates the trumped up, phony take of Django Reinhardt's "Nuages," while a saving bass-led "Very Early" (Bill Evans piece) in waltz tempo has Beck shining on his sped-up improv from a slower introductory pace. Time and time again on this date he proves to be the true star. The remaining tracks are Beck's piano-driven, rather Pat Metheny-esque contemporary Southwest landscape hard swinger "San Marcos," and the synthaxe-oriented, three-note vamp of the title cut, with a more patiently constructed guitar solo at the beginning. Holdsworth is a speed freak, once and always, who cannot be tamed -- nor would his fans want him to. His multilayered, frenetic style is what fascinates his audience, but he is showing a need to calm down at times, and adopt different sounds aside from the single crystalline entity for which he is known. ~ Michael G. Nastos, All Music Guide
What The Critics Say
Allan Holdsworth is arguably one of the most important post-Hendrix electric guitarists to grace either the fusion or rock scenes, while Hard Hat Area, signifies one of the artist's better solo excursions. With this 1994 effort, the guitarist receives excellent support from Icelandic electric bass phenom Skuli Sverrissson, whereas keyboardist Steve Hunt renders melodically tinged synth lines and ethereal backwashes throughout. Essentially, the group produces a series of climactic overtures, accelerated by a distinct sense of uninhibited force. On pieces such as "Ruhkukah" and "Low Levels, High Stakes," the musicians surge forward with a deterministic flair via a few tricky time signatures and lyrically charged themes atop Holdsworth's climactically driven solos. Consequently, the group conveys an underlying sense of tension and release, as Holdsworth's scathing legato-based lines might spur notions of a hawk zooming in on its prey. Thus, a must-have for the ardent Holdsworth aficionado. ~ Glenn Astarita, All Music Guide
