jueves, 20 de julio de 2017

LITO VITALE / LA EXCUSA . 1991.

Calidad FLAC

TRACKS :

01. Algo nuevo (13:53) 
02. Opiniones enontradas (6:05) 
03. Permiso, voy a improvisar un poco (10:13) 
04. Una excusa (9:42) 

MUSICOS :

Marcelo Torres / bajo de seis cuerdas 
- Manuel Miranda / saxos tenor y soprano, quena y antara 
- Jorge Araujo / bateria en "Una excusa" 
- Lito Vitale / teclados, voz y percusión, bateria en "Algo nuevo" y "Opiniones encontradas" 

💙💙💙💙💙





miércoles, 19 de julio de 2017

IMAN,CALIFATO INDEPENDIENTE / CAMINO DEL AGUILA . 1980.

Calidad Vinyl Ripp

TRACKS :

01. La marcha de los enanitos (10:30) 
02. Maluquinha (6:29) 
03. Camino del aguila (14:00) 
04. Niños (3:05)

MUSICOS :

Manuel Rodriguez / vocals, guitars 
Marcos Mantero / keyboards
Urbano Moraes / bass, percussion, chorus 
Kiko Guerrero / drums, percussion
Ruben Dantas / percussion (2) 
Dierdre Fallon / chorus (4)

💙💙💙💙💙


PART 1.

PART 2.

PART 3.

PART 4.

PART 5.

martes, 18 de julio de 2017

LITO VITALE / LITO VITALE Y LA CRUZ DEL SUR . 1993.

Calidad FLAC

TRACKS :

01. El Dia Mas Largo Del Siglo    [0:09:40.57]
02. Mi Tierra Mas Alla Del Mar    [0:08:27.53]
03. Una Nueva Vida    [0:04:58.46]
04. Historias De La Cruz Del Sur    [0:14:05.46]
05. Dias De Hogar    [0:06:20.42]
06. Los Cambios Necesarios    [0:06:10.10]
07. La Arremetida De Los Buenos Aires    [0:12:53.42]
08. Ciudad De Madrugada    [0:04:56.17]

MUSICOS :

Lito Vitale / Piano, Teclados, Guitarras, Voz y Percusión
Marcelo Torres / Bajo de 6 cuerdas
Manuel Miranda / Saxos alto y soprano, Flauta travesera, Piccolo, Quena, Sikus y Percusión
Marcelo Novati / Batería.

💙💙💙💙💙


PART 1.

PART 2.

PART 3.

ABDULLAH IBRAHIM / WATER FROM AN ANCIENT WELL . 1986.

Calidad FLAC

TRACKS :

01. Mandela - 4:58
02. Song for Sathima - 6:10
03. Mannenberg Revisited (Cape Town Fringe) - 6:09
04. Tuang Guru - 5:24
05. Water from an Ancient Well - 11:55
06. The Wedding - 2:38
07. The Mountain - 3:19
08. Sameeda - 5:56

MUSICOS :

Piano – Abdullah Ibrahim
Flute – Carlos Ward
Tenor Saxophone – Ricky Ford
Trombone – Dick Griffin
Baritone Saxophone – Charles Davis (2)
Double Bass – David Williams (2)
Drums – Ben Riley.

💙💙💙💙💙



PART 1.

PART 2.

CHRIS CHEEK / BLUES CRUISE . 2005.

Calidad Mp3 320 Kbps

TRACKS :

01. Flamingo (Grouya-Anderson) 5:23 
02. Low Key Lightly (Ellington) 6:36 
03. Coo (Cheek) 6:49 
04. Squirrelling (Cheek) 5:42 
05. Song of India (Korsakov) 3:47
06. Falling (Cheek) 6:19 
07. Blues Cruise (Cheek) 7:43
08. John Denver (Cheek) 6:05 
09. The Sweatheart Tree (Mancini) 5:08

MUSICOS :

Chris Cheek (tenor & soprano saxs); 
Brad Mehldau (piano, Fender Rhodes); 
Larry Grenadier (bass); 
Jorge Rossy (drums).

💙💙💙💙💙



D3 / 3DD´3 . 2006.

Calidad FLAC

TRACKS :

01. Vale La Pena (Francis Posé)
02. El Enfermo (Jorge Pardo)
03. Algo Se Quema (J. Vázquez 'Roper')
04. Xysy (Francis Posé)
05. Chachalero (Francis Posé)
06. Huye Huye (Jorge Pardo)
07. El Quejío En El Barro (Jorge Pardo)
08. Al Andalus (Francis Posé)

MUSICOS :

Jorge Pardo (Tenor and soprano saxes, flute); 
Francis Posé (Contrabass); 
José Vázquez "Roper" (Drums).

💙💙💙💙💙


PART 1.

PART 2.

lunes, 17 de julio de 2017

LITO VITALE / ESE AMIGO DEL ALMA . 1988.

Calidad FLAC

TRACKS :

01 - Recuerdos en mi bemol
02 - Estar entre nosotros
03 - La vida es un tango
04 - Estar vivo hoy
05 - Ese amigo del alma

MUSICOS :

Piano, Keyboards – Lito Vitale
Bass – Marcelo Torres
Drums – Christian Judurcha (tracks: 1, 3, 5, 6), 
Jota Morelli (tracks: 2, 4)
Percussion [Chequere], Woodwind – Manuel Miranda

💙💙💙💙💙




domingo, 16 de julio de 2017

TETE MONTOLIU & JORDI SABATES / VAMPYRIA . 1974.

Calidad FLAC



TRACKS :

01. Cançó De Bressol 1     1:42
02. Ligeia     6:45
03. Stonehenge     6:10
04. Mirando Al Caballo Claro     2:32
05. Blues Para El Pianista Desconocido     3:10
06. Cançó De Bressol 2     1:44
07. Cançó De Bressol 3     1:12
08. Moyenne Girl     5:44
09. Marcha Fúnebre     2:14
10. Tristesses De La Lune     5:14
11. L'Invitation Au Voyage     6:32
12. Cançó De Bressol 4     1:25

All songs by Jordi Sabatés

MUSICOS :

Electric Piano – Tete Montoliu
Piano – Jordi Sabatés

💙💙💙💙💙


PART 1.

PART 2.

sábado, 15 de julio de 2017

EDDY PALERMO / EDDY PALERMO TRIO . 2009.

Calidad Mp3 320 Kbps

TRACKS :

01. This Is Your Song
02. Like Someone In Love
03. Blue For Joe (Concept 1)
04. I Love You
05. Samba Da Vizinha
06. Nuages
07. Blues For Joe (Concept 2)
08. Ciumachella De Trastevere

Recorded at "Panastudio Productions", Palermo, Italy
Original Release Date: 24 Jan 2009

MUSICOS :

Eddy Palermo (Guitar); Francesco Puglisi (Double bass); 
Gianpaolo Ascolese (Drums); Riccardo Biseo (Keyboards on "Samba da Vizinha"); 
Cicci Santucci (Flugelhorn on "Samba da Vizinha").

💙💙💙💙


EDDYPALERMOTRIO

LARRY CORYELL / THE LION AND THE RAM . 1976.

Calidad Mp3 320 Kbps

TRACKS :

01. Larry's Boogie
02. Stravinsky
03. Toy Soldiers
04. Short Time Around
05. Improvisation On Bach Lute Prelude
06. Song For My Friend's Children
07. Bicentennial Head Fest
08. The Fifties
09. Domesticity
10. The Lion And The Ram

MUSICOS :

Larry Coryell – guitars, vocals
Joe Beck – Fender Rhodes bass, string synthesizer, guitar
Mike Mandel – piano, bass synthesizer
Danny Toan – guitar on "Toy Soldiers"
Michael Urbaniak – violin on "The Lion and the Ram"

💙💙💙💙


THELIONANDTHERAM

CHRIS CHEEK / VINE . 2000.

Calidad FLAC

TRACKS :

01. So It Seems
02. The Wing Key
03. Vine
04. Ice Fall
05. Granada
06. Reno
07. What's Left
08. Not A Samba

MUSICOS :

Tenor Saxophone, Soprano Saxophone, Composed By, Design, Producer – Chris Cheek
Guitar – Kurt Rosenwinkel
Piano, Electric Piano [Fender Rhodes] – Brad Mehldau
Bass – Matt Penman
Drums – Jorge Rossy

💙💙💙💙💙


PART 1.

PART 2.

PART 3.

viernes, 14 de julio de 2017

IMAN,CALIFATO INDEPENDIENTE / IMAN,CALIFATO INDEPENDIENTE . 1978.

Calidad Vinyl Ripp

Todo comenzó en Madrid, en el barrio de Fuencarral, donde un grupo de amigos y músicos se reunían en torno al Guru Mahara-ji. Esa familia la formaban entre otros: Pablo Becerra, Pepe Almadana, Kiko Guerrero, Federico Cordón, Iñaki Egaña, Luis Delgado, Manuel Rodríguez, Malili y algunos amigos más.

Era el año 1976 y ya por entonces algunos habían tenido experiencias musicales: Iñaki (Barrabás, Alacrán), Manuel (Goma) y Kiko (Los Solos).

De allí surgió el germen, que maduró en Rota en la navidad de 1977. Se presentaba Imán Trío en una discoteca, cuando se encontraron con Marcos, un amigo de Manuel, quien no tardó en ir a por unos teclados.

Como Imán Califato Independiente se instalan en Jerez en la casa de Kiko, comenzando a experimentar una mezcla de sonidos francamente interesante.

Sin duda este es uno de los grupos más peculiares del rock andaluz, siempre cargado de misticismo y magia.

Sus directos se caracterizaban por largas improvisaciones y atmósferas en la línea de los uruguayos Opa o los estadounidenses Weather Report, fusionando sonidos étnicos y progresivos. En ellos predomina la música instrumental, aunque desarrollan algunos temas vocales con gran precisión.

De Jerez pasan a El Puerto de Santa María, donde trabajan de forma constante en lo que serían sus dos discos emblemáticos: “Califato Independiente” y “Camino del Águila”.

Estos dos álbumes suponen sus dos etapas musicales, con cambio de bajista y giro a sonidos más latinos y calientes.

Sus actuaciones en directo fueron prodigiosas, conquistando cada vez más público y colocándoles en la vanguardia de la época.

La banda funcionó hasta 1982 en que Marcos y Manuel se presentan como Mantero y Rodríguez S.L, a la vez que hubo alguna experiencia con el nombre de Etiqueta Negra.

A partir de ahí los músicos se dispersan y pasarán los años hasta que en 1986 vuelven a reunirse para conmemorar su décimo aniversario con un concierto en directo en la Alameda Vieja de Jerez.

Así pasan otros veinte años hasta una nueva reunión que parece un poco más estable. En 2006 actúan de nuevo en Jerez. En esta ocasión lo hacen ante 3.000 personas y con la edición de un CD que recoge temas inéditos y directos de sus comienzos.

Los últimos años han actuado en varias ocasiones en la provincia de Cádiz, a la vez que iniciaban unas sesiones de grabación que podría suponer un nuevo disco. A la espera de ello estamos.

TRACKS :

01. Tarantos del Califato Independiente
a/Canto Al Califa
b/Tarantos
c/Estáte Quieto, Boabdil
d/Paseo Por La Plaza
e/Cuarto Menguante
02. Darshan
03. Cerro Alegre
04. Cancion de la Oruga

MUSICOS :

Guitar [Acoustic, Spanish, Electric 6 & 12 Strings], Vocals – Manuel Rodríguez
Synthesizer [ARP 2600, Farfisa Synthorchestra, Mini Moog, Elka Rhapsody], Mellotron, Organ [Farfisa], Piano – Marcos Mantero
Bass, Vocals – Iñaki Egaña
Congas – Javier Fernández Blanco (tracks: A1)
Drums, Percussion – Kiko Guerrero
Marimba – Juan Iborra (2) (tracks: A1)
Percussion – Iñaki Egaña (tracks: A1.1), Manuel Rodríguez (tracks: A1.1)

Written-By – Imán, Califato I

Arranged By – Imán, Califato Independiente (tracks: A1, B1, B2), Manuel Rodríguez (tracks: B3)


💙💙💙💙💙



PART 1.

PART 2.

PART 3.

PART 4.

PART 5.

XIMO TEBAR / TE KIERO CON K . 1991.

Calidad FLAC

TRACKS :

01 - Te Kiero Con K - Ximo Tebar - 5:26
02 - Como No! - R. Belda - 5:19
03 - Nana (Cancion De Cuna) - Ximo Tebar - 3:40
04 - Omix Rabet - Ximo Tebar - 7:40
05 - No Puedo Dejar De Mirarte - Ximo Tebar - 4:50
06 - Isla Grande - Ximo Tebar - 6:08
07 - Leningrado - Ximo Tebar - 9:30
08 - Round' Midnight - T. Monk - 3:41

MUSICOS :

Ximo Tebar - Electric, Classical & Acoustic Guitars
Ricardo Belda - Piano & Keyboards
Luis Llario - Acoustic Bass
Felipe Cucciardi - Drums
Ruben Dantas & Adolfo Crespo - Percussion
Jorge Pardo - Flute

💙💙💙💙



CAMARON / LA LEYENDA DEL TIEMPO (Repost) . 1979.

Calidad Vynil Ripp

CAMARON.......LA LEYENDA.

"La leyenda del tiempo" formó un bucle que ayudó a cambiar el concepto de la música flamenca. Lo que se dice romper moldes: los músicos de Rock vieron a partir de entonces el flamenco de otra manera y los gitanos, más conservadores, tenían ya la venia para otras expresiones sin rígidez. Un LP monumental, una piedra fundamental del nuevo flamenco.
Grabado en verano de 1979, supone un disco de reforma y transición, a punto estuvieron incluso de mudarse de casa discográfica.
Es el disco en el que Camarón abandona el "De la Isla", el primero con barba y con portada diferente: una foto de Mario Pacheco, quien un lustro después daba rienda a sus Nuevos Medios.
En la difuminada contraportada del vinilo aparece Camarón toreando una vaquilla.
Con "La leyenda" bajaron las ventas en la carrera de Camarón, y al productor le gusta relatar cómo gitanos viejos iban a las tiendas de discos a devolver el disco porque decían que ése no era Camarón.

"Pero esta reacción también le ocurrió a Pansequito y Rancapino, que son amigos y familiares, le decían que se había salido de la línea... Camarón estuvo algún tiempo amargado y me decía: el próximo disco vamos a hacer un disquito flamenco". ¿Cómo consiguió Ricardo Pachón producir a Camarón?
Una vez concluido el contrato de producción con Antonio Sánchez, padre de Paco de Lucía, Manuel Molina mantuvo conversaciones para hacer el nuevo disco a Camarón, pero éste quiso volverse para La Línea. 

Fue el momento en que Ricardo, que había hecho los discos de Lole y Manuel, aprovechó para ofrecerse y, antes de irse, allí mismo, le cantó el "Romance del Amargo" ("lo primero que compuse").
"Camarón estuvo fantástico porque él estaba acostumbrado a otro tipo de grabaciones... se tenía que fumar los porros en el WC.Eran grabaciones muy estándares y constreñidas, en ocho pistas como máximo.Pero aquel estudio era grande y había un ambientazo, siempre lleno de músicos, los Dolores, los palmeros..." (Ricardo Pachón) 

Pero antes se vieron concentrados en Umbrete, donde meses antes se habían registrado las "Guitarras callejeras" de Pata Negra. Ricardo junta al equipo formado por Camarón, Tomatito, Raimundo (que se acababa de casar y de separar) y Kiko Veneno, con el ínclito Juan el Camas de cocinero: "Lo que más le gustaba -recuerda- era la mojarrita (pescado) frita, que se la traían de San Fernando y freíamos doce kilos; y un guiso de garbanzos con acelgas y su pringá (mezcla de carnes)".
Los de Alameda entraban y salían en un ambiente relajado alrededor de chimenea. 
Estaban en la capital del mosto (vino sin fermentar), en la casa de Ricardo: "Recuerdo que "Los olivaritos" de Kiko era una cosa como dodecafónica. 

Se sugería un tono y ya los olivaritos se iban haciendo más flamencos. Nos reíamos mucho y el guru era Juan el Camas. Vivíamos allí, en medio del campo, y los Pata Negra robaban naranjas por las fincas de los alrededores y venía la Guardia Civil y..."
El que más peso detentaría en el disco fue Tomatito, ese gitano del oriente. 
Llegó de Almería y, aunque no había grabado hasta entonces, ya llevaba un par de años acompañando en vivo a Camarón, quien le convertiría en tocaor de leyenda, posición desde la que recapitula: "Había llegado la hora de grabar un disco, y cuando veo los temas dije... qué cosa más rara. 

Yo tenía 19 años y estábamos todos locos porque saliera bien, una cosa moderna". 
Si el aficionado podía encontrar algunas influencias del "Almoraima" de Paco, se iban diluyendo ante un sello personal... y casi anónimo a su pesar: "En ese momento la gente preguntaba quién era, porque sonaba algo diferente. 
Pero yo estaba enfadado porque no pusieron mi nombre, ni siquiera salió en la parte de atrás del disco".
Tomate ayudó mucho en los ritmos a Antonio Moreno, el Tacita, que antes había puesto su libre batería en el disco de Veneno y aquí, de nuevo, no aparece su nombre (confundido por el de Antoñito Smash); Tacita fue el batería del dilatado primer proyecto Alameda, que poco después grabaría su primer y más exitoso disco. 
De Alameda eran también bajo y teclados. Y la guitarra eléctrica, del cantante Pepe Roca, punteó en "La tarara" y "Volando voy".El que más toca en el disco, detrás de Tomatito, es Manolo Rosa, ese bajista estupendo y exigente. 

Por último, por mor de Manolo Marinelli, "La leyenda" introduce sintetizador. 
"Mira, el disco está bien, pero el pito ese que mete al final (por el moog), eso no vale un duro". Eso le dijo Paco de Lucía a Ricardo, que matiza:"El disco le gustó, sí.De hecho yo hablé con Paco antes que con Tomatito y primero me dijo que sí, pero después me dijo que su padre estaba un poco dolido porque después de diez discos Camarón había cambiado de productor".


La pieza "La leyenda del tiempo" pone la música a una joya,el luminoso baile final de "El perro andaluz. Burlerías", del actual Ballet Andaluz de Danza, con coreografía de María Pagés.Por cierto, curiosos arreglos jazzísticos le adapta la Metropole Orchestra de Amsterdam, Cauchout, en un disco de hace cinco años,totalmente espectacular.

José Antonio Galicia toca la batería y Rubem Dantas la percusión en "La tarara" donde hay un piano desafinado. 
Se pueden escuchar los cortos y secos rasgueados de la guitarra de Raimundo y la flauta de Jorge Pardo en el "Volando voy" de Kiko Veneno. 
Galicia, Dantas y Pardo pertenecían al grupo Dolores, que respaldó a Camarón ese verano del 79 en la plaza de toros de Barcelona. El cartel lo completaba Jeff Beck, Weather Report y Stanley Clarke.

Guadiana, que acaba de publicar su primer disco, es uno de los siete palmeros que intervienen en la leyenda.
Y siempre hay que acordarse del maestro Manolito Soler, cuyo taconeo pone de relieve en "Mi niña se fue a la mar", que firman a medias Kiko y Ricardo: "A partir de unos acordes de un blues que tenía Kiko, lo metí por alegrías y aprovechamos las cantiñas de Pinini".

"Volando voy", que la hacía Veneno en directo, se desenvaina como single. Algún cazaeslogan ha equiparado con el "no future" punkista aquel "volando voy, volando vengo, por el camino yo me entretengo".

Era el primer disco de Tomatito y en él deja algunos de los mejores toques de su vida, como el eléctrico final de "Tangos de la sultana", unos tangos extremeños y de la Repompa de Málaga con letra de Francisco Díaz Velázquez, el primero que publicó el Manifiesto del Borde de Smash.

Raimundo y Tomatito se doblan en la versión de Omar Kayan que tenía preparada Kiko, quien aclara: "Era un poeta persa perteneciente a la filosofía sufí del siglo XI, una especie de estoicismo dentro de las tendencias islámicas, un autor que era conocido en los círculos hippies". "Quiero al amante que gime de felicidad y desprecio al hipócrita que reza una plegaria".
Del soporte literario, la clave es García Lorca: son suyos los cuatro primeros cortes y el de cierre.

También se cogen fragmentos de poemas de Fernando Villalón ("poeta tahúr y señorito", según Juanjo Téllez), cuyo barco de vapor estaba hecho con la idea de que echándole carbón navegue contra marea.

Eran las alegrías de "Bahía de Cádiz", que tienen el aire de Enrique Morente, la única música que José llevaba en mente al llegar a Umbrete.

Gualberto se quedó solo con Camarón para finalizar el disco con "Nana del caballo grande", aquél que no quería beber porque "el agua era negra dentro de las ramas".

Gualberto recuerda: "No pudimos ensayar nada, me fui a Madrid, él se tomó una botella de agua y yo una cerveza con un bocadillo de chorizo porque estaba desmayado del viaje.

La grabamos en directo, los dos frente a frente, y un fondito de pedal que hizo Manolo Marinelli. Nos miramos, nos contestamos y fue muy natural. Salió a la primera, ni repeticiones ni recordings ni nada.

Había mucha gente en el estudio, pero Camarón estaba muy concentrado, se cuidaba mucho en esa época". "Nana del caballo grande" sería adaptada justo diez años después -mecida con grandilocuencia por la Royal Philharmonic Orchestra- para también poner fin a "Soy gitano", cogida de otra toma diferente, que hizo Camarón con el piano de Marinelli.

Dificilísimo de creer: el número de unidades de "La leyenda" vendidas, la cantidad hecha pública cuando murió el cantaor en 1992: ni seis mil. El disco del que hablamos fue considerado el mejor de toda la historia del flamenco por El País de las Tentaciones (agosto 1994), que le dedica una tópica y despistada reseña.

Con Ricardo firmó Camarón un contrato en Polygram por cuatro discos: "La leyenda del tiempo", "Como el agua", "Calle Real" y "Viviré". "La leyenda" fue punto de inflexión de discos impares, entre "Castillo de arena" del 77 y "Como el agua" del 81, donde sigue Tomatito y vuelve Paco de Lucía. 
"Sí, vuelve San Paco y puso la condición de que los temas fueran de su hermano Pepe. A Camarón le pareció bien." 


En la grabación de este disco toma heroína por primera vez. Su caché se acercaba por entonces al millón de pesetas, y al final, diez años después, llega a los tres millones.

"He de decir que de esas 6000 copias que se dice que vendio el disco yo compre cuatro pues lo perdi,dejandolo prestado,tres o cuatro veces.

Tambien fui testigo directo,pues vi a Camaron con Dolores en un festival que se organizo en Marbella,donde tocaban con grupos como Iman,Triana,Bloque y Cai,si mal no recuerdo".(Pepejazzy)

CONTROVERSIAS DE LEYENDA

Rafael Amador no fue a la grabación, y mientras Ricardo minimiza la incidencia de Pata Negra en el disco, Raimundo reivindica su parte: 
"En "La leyenda del tiempo" el Kiko y yo pusimos bastante de nuestro rollo, aunque Ricardo se ha llevado todos los galones. 
Incluso yo ensayé mucho para ese disco; muchas veces el Tomatito estaba en Almería y yo seguía allí con Kiko mirando cosas con Camarón, incluso Rafalillo y el Carapapa andaban por allí.

Por ejemplo, la bambera (por "La leyenda") a lo primero era un poco cursi, más blandito, y sin embargo le metimos una fusión que no salió de Ricardo.

El "Viejo mundo" lo teníamos grabado cantándolo Kiko para que lo aprendiera José, que te meas de risa de cómo lo canta el Kiko, muy gracioso".

Según Kiko, Ricardo le llamaba para pedirle ideas y realmente partió de él el croquis de adaptar a Lorca, "que por entonces era un poeta sagrado".
Pero Kiko va más allá: "La confluencia de Camarón conmigo, Raimundo y Tomatito joven, en la época pre-heroína, con pildorillas por medio, esa confluencia fue explosiva.

" Sin embargo, Ricardo afirma que cuando llegó Kiko la banda tenía ya montada el "Amargo" y "La leyenda" ("Lo del Amargo era un romance de soleá por bulería que tenía yo hecho desde hacía diez años"). 
Pachón llega a renegar de la versión de Kiko de "La leyenda del tiempo" en su último disco en estudio y habla de desfachatez al firmar Kiko la música, que eran dos bamberas -una en tono menor y otra en mayor- que él metió por bulerías. 
"La música es para el que la trabaja", concluye. "Cuando se hace una adaptación popular, los derechos de autor van al adaptador... por eso podía haber puesto adaptación," matiza Kiko, quien por su parte considera que Ricardo le despidió para componer las segundas partes. Un asunto oscuro para un disco luminoso.

Autorretrato retocado. Seis cortes de "La leyenda del tiempo" se restauran para "Autorretrato", doble recopilatorio publicado en 1990.

En las nuevas mezclas se arremolinan las percusiones y palmas nada menos que de Manuel Soler, Tino Di Geraldo, Diego Carrasco y Doctor Kelly; intervienen en las variaciones de "Volando voy" y "La tarara" y mientras en la primera Tino pulsa también hacia el Caribe un bajo apasionado, en la segunda se intercala el taranto de la Gabriela. 

Si en el original del "Romance del Amargo" se dobla la guitarra de Tomatito, aquí es sustituida por la sonanta de aristas de Juan Manuel Cañizares, que también mete guiños jazzísticos en "La tarara". No se intentaba parchear ni exceder lo superior germinal. Son otras tallas, otras joyas pulidas del modelo inicial.



TRACKS


La leyenda del tiempo (Federico García Lorca/Ricardo Pachón) – (Jaleos) 3:41
Romance del Amargo (García Lorca/Pachón) – (Bulerías por Soleá) 3:47
Homenaje a Federico (García Lorca/Pachón/Kiko Veneno) – (Bulerías) 4:10
Mi niña se fue a la mar (García Lorca/Pachón/Veneno) – (Cantiñas de Pinini) 3:05
La Tarara (Trad. Arr. Ricardo Pachón) – (Canción) 3:46
Volando voy (Veneno) – (Rumba) 3:25
Bahia de Cádiz (Pachón/Fernando Villalón) – (Alegrías de baile) 2:56
Viejo mundo (Omar Khayyám/Veneno) – (Bulerías) 2:45
Tangos de la Sultana (Antonio Casas/Pachón/Francisco Velázquez) – (Tangos) 4:29
Nana del caballo grande (García Lorca/Pachón) – (Nana) 4:58


MUSICOS


Camarón: voz
Tomatito: guitarra española
Raimundo Amador: guitarra española
Jorge Pardo: flauta
Manolo Marinelli: teclados
Rafael Marinelli: piano
Pepe Roca: guitarra eléctrica
Gualberto: sitar
Rubem Dantas: percusiones
Tito Duarte: percusiones
José Antonio Galicia: percusiones
Antonio Moreno "Tacita": percusiones
Pepe Ébano: bongó
Manolo Rosa: Bajo.


Para conmemorar el 30 aniversario de este disco revolucionario TVE produjo el documental "UN TIEMPO DE LEYENDA",que lo podéis ver a continuación,de todos modos si lo queréis también incluyo un link en comentarios solo me queda desearos que disfrutéis enormemente con este "DISCO DE LEYENDA".Saludos,Pepejazzy.

💙💙💙💙💙






jueves, 13 de julio de 2017

LARRY CORYELL / THE RESTFUL MIND . 1975.

Calidad Mp3 320 Kbps

TRACKS :

01 - Improvisation On Robert De Visee's Menuet II
02 - Ann Arbor
03 - Pavane For A Dead Princess
04 - Improvisation On Robert De Visee's Sarabande
05 - Song For Jim Webb
06 - Julie La Belle
07 - The Restful Mind

MUSICOS :

Acoustic Guitar, Electric Guitar – Larry Coryell
Guitar – Ralph Towner
Acoustic Bass – Glen Moore
Tabla, Congas – Collin Walcott

💙💙💙💙


THERESTFULMIND

VIKTORIA TOLSTOY & JAKOB KARLZON / A MOMENT OF NOW . 2013.

Calidad HD Tracks

TRACKS :

01. I Can Let Go Now
02. Deep River
03. Red Rain
04. A Moment Of Now
05. Against All Odds
06. Hand In My Pocket
07. Taking it all to Hard
08. Lessons in Love
09. Shadow and Light
10. Satisfied
11. I Concentrate On You
12. Scent of Snow
13. Send one your love
14. Northern Star

MUSICOS :

Grand Piano, Organ, Celesta, Keyboards – Jacob Karlzon
Vocals – Viktoria Tolstoy,Jocke Bergström (tracks: 13)

💙💙💙💙💙



PART 1.

PART 2.

PART 3.

PART 4.

PART 5.

PART 6.

PART 7.

miércoles, 12 de julio de 2017

CHRIS CHEEK / I WISH I KNEW . 1997.

Calidad Mp3 320 Kbps

TRACKS :

01 - I Wish I Knew
02 - At Long Last Love
03 - Skylark
04 - Stairway to the Stars
05 - I'll Be Seeing You
06 - Garden Floor
07 - Time Remember
08 - I Don't Want to Set the World on Fire
09 - What'll I Do

MUSICOS :

Tenor Saxophone – Chris Cheek
Guitar – Kurt Rosenwinkel
Bass – Chris Higgins (2)
Drums – Jordi Rossy

💙💙💙💙💙


IWISHIKNEW

ANTONIO ONORATO & EDDY PALERMO / TWO PARALLEL COLOURS . 2008.

Calidad Mp3 320 Kbps

TRACKS :

01. Tony Scott blues
02. Evening in London
03. Forcella
04. Onorando
05. Meditacao
06. Blues for Eddy
07. Chi tene ‘o mare
08. There Will Never Be Another You

MUSICOS :

Eddy Palermo - Guitar
Antonio Onorato - Guitar
Dario Deidda - Bass
Giampiero Virtuoso - Drums.

💙💙💙💙



martes, 11 de julio de 2017

PAUL MOTIAN / REINCARNATION OF A LOVE BIRD . 1994.

Calidad FLAC

TRACKS :

01. Split Decision (Paul Motian) 5:40
02. Half-Nelson (Miles Davis) 3:54
03. Ask Me How (Thelonious Monk) 3:44
04. Reincarnation of a Love Bird (Charles Mingus) 6:33
05. Skippy (Thelonious Monk) 3:41
06. 2 Bass Hit (Dizzy Gillespie / John Lewis) 4:10
07. Waseenonet (Wolfgang Muthspiel) 7:02
08. Ornithology (Charlie Parker, Harris) 4:32
09. Round Midnight (Thelonious Monk, Cootie Williams / Bernie Hanighen) 6:58
10. Be-Bop (Dizzy Gillespie) 4:01
11. Split Decision (Paul Motian) 3:39

Recorded live at Power Station, NYC, June 1994.

MUSICOS :

Paul Motian – Drums
Don Alias – Percussion
Steve Swallow – Bass
Kurt Rosenwinkel – Guitar
Wolfgang Muthspiel – Guitar
Chris Potter – Alto and Tenor Sax
Chris Cheek – Tenor Sax

💙💙💙💙


PART 1.

PART 2.

GERRY MULLIGAN / NIGHT LIGHTS . 1963-65.

Calidad APE

TRACKS :

01. Night Lights [1963 Version] 4:55
02. Morning of the Carnival (Manha de Carnaval) 5:29
03. In the Wee Small Hours of the Morning 5:37
04. Prelude in E minor 4:14
05. Festival Minor 6:48
06. Tell Me When 4:09
07. Night Lights [1965 Version] 2:53 ***

*** - additional track on compact disc only

MUSICOS :

Gerry Mulligan — Clarinet, Sax (Baritone), Piano
Bob Brookmeyer — Trombone (1-6)
Art Farmer — Flugelhorn, Trumpet (1-6)
Jim Hall — Guitar (1-6)
Jon Gray — Guitar (7)
Pete Jolly — Piano (7)
Bill Crow — Bass (1-6)
Jimmy Bond — Bass (7)
Dave Bailey — Drums (1-6)
Hal Blaine — Drums (7)

Gerry Mulligan Sextet (Tracks 1-6, recorded September 1963 at Nola Penthouse Studios, N.Y.C.)

Gerry Mulligan Quintet (Track 7, recorded 1965)

💙💙💙💙





JAKOB DINESEN / AROUND . 1999.

Calidad FLAC

TRACKS :

01. Ask Me Now
02. Once Around The Park
03. Criss Cross
04. Work
05. Very Early
06. Cottontail
07. Around
08. In Walked Bud

Recorded at Sound On Sound Studio, New York, May 13th 1999.
Track 8 recorded live at The Recreation Center, Copenhagen, January 23rd 1999.

MUSICOS :

Tenor Saxophone – Jakob Dinesen
Guitar – Kurt Rosenwinkel (tracks: 1 to 7)
Piano – Ben Besiakov (tracks: 8)
Bass – Anders Christensen (tracks: 1 to 7), Nils Bo Davidsen* (tracks: 8)
Drums – Jeppe Gram (tracks: 8), Paul Motian (tracks: 1 to 7)

Written-By – B. Evans* (tracks: 5), D. Ellington* (tracks: 6), J. Dinesen* (tracks: 7), P. Motian* (tracks: 2), T. Monk* (tracks: 1, 3, 4, 8)

💙💙💙💙💙


PART 1.

PART 2.


GABRIELE MIRABASSI / 1-0 (UNO A ZERO) . 2001.

Calidad FLAC

TRACKS :

01. Um a Zero (1 x 0) (Pixinguinha) 2:19
02. Ainda me recordo (Pixinguinha) 5:13
03. Ingenuo (Pixinguinha) 6:25
04. Proezas de Solon (Pixinguinha) 2:19
05. Seu Lorenço no  vinho (Pixinguinha) 2:21
06. Non ci resta che… chorar! (Gabriele Mirabassi) 5:36
07. Vou vivendo (Pixinguinha) 4:48
08. Chorei (Pixinguinha) 2:48
09. Carinhoso (Pixinguinha) 6:07
10. Apanhei – te cavaquinho (Ernesto Nazareth) 2:57
11. A ginga do Mané (Jacob do Bandolim) 2:15
12. Vidinha boa (Jacob do Bandolim) 3:01
13. Brejeiro (Ernesto Nazareth) 5:21

Registrato in maggio 2001 presso il Teatro Comunale Subasio di Spello.

MUSICOS :

Gabriele Mirabassi – clarinetto
Patrick Vaillant – mandolino
Luciano Biondini – fisarmonica
Michel Godard – tuba

💙💙💙💙💙


PART 1.

PART 2.

GENE KRUPA & BUDDY RICH / KRUPA AND RICH . 1955.

Calidad FLAC

TRACKS :

01. Buddy's Blues
02. Bernie's Tune
03. Gene's Blues
04. Sweethearts On Parade
05. I Never Knew
06. Sunday
07. The Monster

Originally recorded May 16 and November 1, 1955 in New York City. 
Tracks 6 and 7 originally released from the LP: The Wailing Buddy Rich and are included as bonus tracks for this reissue.

MUSICOS :

Drums – Buddy Rich, Gene Krupa (tracks: 1 to 5)
Tenor Saxophone – Ben Webster (tracks: 6 to 7), Flip Phillips (tracks: 1 to 5), Frank Wess (tracks: 6 to 7), Illinois Jacquet (tracks: 1 to 5)
Trumpet – Dizzy Gillespie (tracks: 1 to 5), Joe Newman (tracks: 6 to 7), Roy Eldridge (tracks: 1 to 5), Thad Jones (tracks: 6 to 7)
Guitar – Freddie Green (tracks: 6 to 7), Herb Ellis (tracks: 1 to 5)
Piano – Oscar Peterson
Bass – Ray Brown

💙💙💙💙💙


PART 1.

PART 2.

lunes, 10 de julio de 2017

ALLAN HOLDSWORTH / INTRUCTIONAL VIDEO (METODO)

Calidad AVI

Allan Holdsworth (6 August 1946 – 15 April 2017)was a British guitarist and composer. He released twelve studio albums as a solo artist and played a variety of musical styles in a career spanning more than four decades, but is best known for his work in jazz fusion.

Holdsworth was known for his advanced knowledge of music, through which he incorporated a vast array of complex chord progressions and intricate solos; the latter comprising myriad scale forms often derived from those such as the diminished, augmented, whole tone, chromatic and altered scales, among others, resulting in an unpredictable and "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Having been unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also become associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.

Holdsworth was cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,Joe Satriani,Greg Howe,Shawn Lane,Richie Kotzen,John Petrucci,Alex Lifeson,Kurt Rosenwinkel,Yngwie Malmsteen,Michael Romeo,Ty Taborand Tom Morello.

Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet",while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."

Holdsworth was born in Bradford, where he was raised by his maternal grandparents, Sam and Elsie Holdsworth.Sam Holdsworth was a jazz pianist who had previously moved to London to pursue a career in music, but he eventually returned to Bradford.

Holdsworth was given his first guitar at the age of 17 and received his initial music tuition from his grandfather. His professional career began when he joined the Glen South Band, which performed on the Mecca club circuit across Northern England.

Early career and 1970s.

Holdsworth first recorded in 1969 with the band 'Igginbottom on their lone release,'Igginbottom's Wrench (later reissued under the group name of "Allan Holdsworth & Friends"). In 1971 he joined Sunship, an improvisational band featuring keyboardist Alan Gowen, future King Crimson percussionist Jamie Muir and bassist Laurie Baker. They played live but would never release any recorded material.Next came a brief stint with jazz rock band Nucleus, with whom Holdsworth played on their 1972 album, Belladonna; likewise with progressive rock band Tempest, on their self-titled first studio album in 1973.His playing can also be heard on a live BBC Radio concert from that year, which was released several decades later in 2005 as part of Under the Blossom: The Anthology, a Tempest compilation album. There has been an urban myth, propagated in part by the singer Donovan, that Holdsworth played the fuzztone solo on Donovan's 1968 hit "Hurdy Gurdy Man"; however it has since been established that Alan Parker was the session guitarist responsible.

During the middle part of the decade, Holdsworth went on to work with various well-known progressive rock and jazz fusion artists. These included Soft Machine (Bundles), The New Tony Williams Lifetime (Believe It and Million Dollar Legs), Pierre Moerlen's Gong (Gazeuse! and Expresso II) and Jean-Luc Ponty (Enigmatic Ocean). He has often since expressed his enjoyment of the experience gained with all of these groups, in particular his time spent with drummer Tony Williams.

1976 brought about the first of Holdsworth's many frustrations with the music industry, when CTI Records released a recording of a rehearsal session on which he played, passing it off as an official studio album entitled Velvet Darkness. This angered Holdsworth, who said that he still loathes the album intensely and wished it were never made public.

As the 1970s wore on, Holdsworth was recruited by drummer and Yes founder Bill Bruford to play on his 1978 debut album, Feels Good to Me. Shortly afterwards, Bruford formed the progressive rock supergroup U.K. with keyboardist/violinist Eddie Jobson and bassist John Wetton; Holdsworth was brought in on the recommendation of Bruford. Despite getting along well with them personally and enjoying the recording of their 1978 self-titled album, Holdsworth claims that he "detested" his time spent with the group,and that it was "miserable" due to numerous musical differences whilst on tour, namely Jobson and Wetton's desire for Holdsworth to play his solos to an organised structure for each show, something to which he vehemently objected.

Whilst U.K. continued with different musicians, Bruford returned to the core line-up of his solo band now simply named Bruford, with Holdsworth retained as guitarist. Their second album, One of a Kind, was released in 1979 and featured extensive contributions by Holdsworth, but by this point he wished to pursue his own musical aspirations and soon left the group, albeit with some reluctance.

1980s

Holdsworth's first significant collaboration was with jazz pianist Gordon Beck on the latter's Sunbird album in 1979. Their first collaborative release The Things You See followed in 1980, and was a largely similar effort but without percussion or bass. Soon afterwards, Holdsworth joined up with drummer Gary Husband and bassist Paul Carmichael in a trio that became known as False Alarm. This was Holdsworth's first outing as a bandleader and, after the acquisition of former Tempest singer Paul Williams, the band was renamed I.O.U. Their self-titled debut album was released independently in 1982, followed by a mainstream reissue through Enigma Records in 1985.

Immediately after I.O.U.'s release, guitarist Eddie Van Halen brought Holdsworth to the attention of Warner Bros. Records executive Mo Ostin. Van Halen had previously enthused about Holdsworth in a 1980 issue of Guitar Player magazine, saying "That guy is bad! He's fantastic; I love him", and that Holdsworth was "the best, in my book". Furthermore, in a 1981 interview for Guitar World magazine, he said that "To me Allan Holdsworth is number one".

This resulted in the Warner Bros. release of Road Games, an EP, in 1983. It was produced by longtime Van Halen executive producer Ted Templeman, and received a nomination for Best Rock Instrumental Performance at the 1984 Grammy Awards. Holdsworth, however, disliked Road Games because of creative issues with Templeman.Former Cream singer Jack Bruce provided vocals on Road Games (Holdsworth and Bruce had played together with Billy Cobham, Didier Lockwood and David Sancious under the name A Gathering of Minds at Montreux in 1982), whilst the later incarnation of the I.O.U. band consisted of Paul Williams, drummer Chad Wackerman (who, along with Husband, would become a regular Holdsworth bandmember for the next three decades) and bassist Jeff Berlin.

Having relocated permanently to Southern California and acrimoniously parted ways with Warner Bros.,Holdsworth signed to Enigma for the 1985 release of Metal Fatigue (along with the aforementioned I.O.U. reissue). It was during this time that Flim & the BB's bassist Jimmy Johnson joined the band and, like Husband and Wackerman, remained a regular member of Holdsworth's touring bands until his death. Making his last appearance on vocals was Paul Williams, with whom Holdsworth claim to have fallen out due to the selling of live bootlegs by the former.

The Atavachron album in 1986 was a landmark release in that it was the first to feature Holdsworth's work with a brand new instrument named the SynthAxe. This unusually designed MIDI controller (different from a guitar synthesizer) would become a staple of Holdsworth's playing for the rest of his recording career, during which he would effectively become the public face of the instrument. The next year saw the release of a fourth album, Sand, which featured no vocals and showcased further SynthAxe experimentation. A second collaboration with Gordon Beck, With a Heart in My Song, followed in 1988.

In the late 1980s, Holdsworth set up his own recording studio named The Brewery in North County, San Diego, which would become one of the main recording locations for all of his studio albums beginning with Secrets in 1989, and throughout the 1990s. In a 2005 interview, he stated that he no longer owned the studio following his divorce in 1999.Secrets introduced pianist Steve Hunt, who went on to play keyboard as a member of Holdsworth's touring band, and for two further albums.

1990s
A collaboration in 1990 with fusion guitarist Frank Gambale came about in the form of Truth in Shredding, an ambitious collaborative project put together by Mark Varney (brother of Shrapnel Records founder Mike Varney) through his Legato Records label.In December of that year, following the death of Level 42 guitarist Alan Murphy in 1989, Holdsworth was recruited by the band to play as a guest musician during a series of concerts at London's Hammersmith Odeon. With former I.O.U. partner Gary Husband now being the drummer for Level 42, these circumstances all led to Holdsworth contributing guitar work on five tracks for their 1991 album, Guaranteed.Holdsworth would also play on Chad Wackerman's first two studio albums, Forty Reasons (1991) and The View (1993).

Holdsworth's first solo album of the decade was 1992's Wardenclyffe Tower, which continued to feature the SynthAxe but also displayed his newfound interest in self-designed baritone guitars built by luthier Bill DeLap.With the 1994 release of Hard Hat Area, Holdsworth's touring band for that and the following year was composed of Steve Hunt, Husband and bassist Skúli Sverrisson. A collaboration in 1996 with brothers Anders and Jens Johansson resulted in Heavy Machinery, an album with more hard-edged playing from Holdsworth than was usual. In the same year, he was once again joined by Gordon Beck on None Too Soon, which comprised interpretations of some of Holdsworth's favourite jazz standards.

2000s–2017

The decade began positively with the release of The Sixteen Men of Tain in 2000, but it turned out to be Holdsworth's last album recorded at The Brewery. Immediately afterwards he abruptly slowed down his solo output due to events within his personal life.A pair of official live albums, All Night Wrong and Then!, were released in 2002 and 2003 respectively, along with a double compilation album, The Best of Allan Holdsworth: Against the Clock, in 2005.

His eleventh album, Flat Tire: Music for a Non-Existent Movie, was released in 2001. In a 2008 interview Holdsworth mentioned that a new studio album entitled Snakes and Ladders was slated for release in the same year through guitarist Steve Vai's Favored Nations label, but this did not happen. Further new material with Chad Wackerman and Jimmy Johnson was also said to be in the works.

In a 2010 interview he claimed to have enough material for two albums, which he planned to begin recording after a show in Tel Aviv.

Throughout the latter half of the 2000s he extensively toured both North America and Europe, and played as a guest on albums by numerous artists. Notably, he was featured on keyboardist Derek Sherinian's 2004 album Mythology,as well as with the latter's progressive metal supergroup Planet X, on their 2007 album Quantum.

In 2006 he performed with keyboardist Alan Pasqua, Wackerman and bassist Jimmy Haslip as part of a live tribute act in honour of the late Tony Williams, with whom Holdsworth and Pasqua had played in the mid-1970s; a DVD (Live at Yoshi's) and double album (Blues for Tony) of this tour were released in 2007 and 2009 respectively. 

Throughout 2008–10 he toured with drummers Terry Bozzio and Pat Mastelotto, and bassist Tony Levin as HoBoLeMa, a supergroup playing improvised experimental music. On 3 November 2011, Holdsworth performed in Mumbai as part of drummer Virgil Donati's touring band.The following year, Holdsworth joined Chad Wackerman for a third time on a studio album by the latter, for Dreams Nightmares and Improvisations.

In 2015, Holdsworth launched a PledgeMusic venture to release new studio material, as part of a collection named Tales from the Vault.The album, his final release, appeared in July 2016.

Compositions and style.

Holdsworth's solo compositions are primarily instrumental, but vocals were prominent on all his 1980s albums except Sand. Two of his most recurring singers were Paul Williams (featured on I.O.U., Road Games and Metal Fatigue) and Rowanne Mark (Atavachron and Secrets). Additionally, he sang lead vocals on Igginbottom's Wrench and The Things You See, something he never did again. Early in his career he occasionally played violin(Velvet Darkness, Sunbird, The Things You See and I.O.U.) and acoustic guitar (Velvet Darkness, U.K., Gazeuse! and Metal Fatigue), but claimed not to be proficient at the latter;this being due to its percussive tonal quality, and hence a lack of desire to play an instrument not optimised for legato playing, as explained below.

Holdsworth was noted for his advanced knowledge of music, and had a distinctive playing style that involved a strong scalar sense, combining elements of jazz and progressive rock. He incorporated a vast array of complex chord progressions and intricate solos, the latter comprising myriad scale forms often derived from those such as the diminished, augmented, whole tone, chromatic and altered scales.In his instructional video for example he mentioned that he often played altered scales that are unusual to the average player, such as F minor major 7th with a raised 4th, while also displaying an ability to recognize such complex scales in chord form with voicings up and down the neck, with each note being a member of a "family".

The harmonic structure of his pieces can be highly abstruse, with frequently shifting tonal centres, and his soloing follows from a self-taught advanced modal framework derived directly from his unusually-voiced chords. His phrasing almost always featured striking yet subtle transitions between notes that often work contrary to the listener's expectations of consonance and dissonance, with wide and unpredictable intervallic leaps.In his solos he extensively used various fast legato techniques such as slides, hammer-ons and pull-offs (the latter being a personalised method more akin to a 'reversed' hammer-on);all of which produce a fluid lead sound. One of the reasons for his renowned emphasis on legato, as opposed to picking, stemmed from a desire to make the sound between picked and legato notes indistinguishable.

Another of his most identifiable traits was the use of rich, fingerpicked chords (often awash with delay, chorus and other complex effects), which were articulated and sustained using volume swells to create sounds reminiscent of the horn and saxophone.He said that he preferred both of these instruments to the guitar, the latter of which was not his first choice of instrument upon receiving one from his father when beginning to play music.It was because of this unfamiliarity with the guitar, combined with attempting to make it sound more like a saxophone, that he originally began to use legato without realising that it was not a common method of playing at the time.Furthermore, he was influenced greatly by such saxophonists as John Coltrane, Cannonball Adderley, Michael Brecker and Charlie Parker,while some of his favourite guitarists were Django Reinhardt, Joe Pass, Wes Montgomery, Jimmy Raney, Charlie Christian and Hank Marvin.

Influence and reception

Holdsworth was a highly influential guitarist among advanced guitarists and was considered of the most technically accomplished and most unusual players. According to Guitar World magazine he is "as influential as Chuck Berry, Jimi Hendrix and Eddie Van Halen.

Eddie Van Halen, Frank Zappa, Shawn Lane, Neal Schon and Gary Moore have proclaimed Holdsworth one of the most advanced guitarists of his time.

However, Holdsworth remained "not well known outside musicians' circles",and musically, even by guitarists, he was criticized for not being musical enough and being too technical for the average listener. Holdsworth himself understood that his music did not gel with the majority of people and said "I don't think everybody would like it, for sure. But if people got to hear it, if even 20% liked it, I would be really happy with that."He once approached a major record label and was told by its producer that his music was "completely directionless," and how he did not approve of anything Holdsworth had ever done since he started making his own albums.Guthrie Govan has said of guitarists who aspire to play like Holdsworth: "I think it's potentially dangerous when a rock type player hears a bit of Allan Holdsworth or Frank Gambale and then dives straight into that style of playing; not only is the technical aspect daunting, there's also all that musical knowledge and understanding going on behind the scenes, and it's really hard to absorb both of those aspects at once without your playing just starting to sound worse."

Following Holdsworth's death, The Pods & Sods Network released a three-part tribute podcast featuring many of his contemporaries, friends and fans sharing personal stories, memories and tributes. Participants included Steve Lukather, Jeff Watson, Chad Wackerman, Joe Satriani, Frank Gambale, Jean Luc Ponty, Vernon Reid, Jennifer Batten, Dweezil Zappa, Ty Tabor, and Mike Keneally.

Equipment

Holdsworth worked with many different guitar manufacturers as he developed his sound, which he felt he was never able to perfect.[24] From the late 1960s through to his time spent with Tony Williams in the mid-1970s, his main instrument was the Gibson SG.:23–25 He then switched to playing custom Fender Stratocaster guitars that were modified with humbucker pickups.

In 1984 he developed his first signature guitars with Ibanez, known as the AH-10 and AH-20. These instruments have a semi-hollow body made from basswood with a hollow cavity underneath the pickguard, and can be heard on Metal Fatigue and Atavachron. His long association with Steinberger guitars began in 1987: these are made from graphite and carbon fibre, and distinctively have no headstock.With designer Ned Steinberger, he developed the GL2TA-AH signature model. He started playing customised headless guitars made by luthier Bill DeLap in the 1990s, which included an extended-range baritone model with a 38-inch scale length.However, he later said that he only owned one of the latter instruments (with a 34-inch scale).He also developed a line of signature guitars with Carvin Guitars, including the semi-hollow H2 in 1996, the completely hollow HF2 Fatboy in 1999, and the headless HH1 and HH2 models in 2013.

On Atavachron, Holdsworth first recorded with the SynthAxe—a fretted, guitar-like MIDI controller with keys, string triggers, and an additional tube-like input device named 'Masters Touch' (designed by Nyle Steiner, inventor of the EWI)which dynamically alters volume and tone using breath velocity.Sound-wise, he used patches which were mainly Oberheim synthesizers.He used the SynthAxe on all solo releases from Atavachron onwards, but later said he no longer wanted it as such an integral part of his playing—especially live—mainly because of it being so rare (fewer than 100 units still exist),and difficult to maintain and repair as a result.

Guitarist Eddie Van Halen used Holdsworth's modified Hartley-Thompson amplifier to record his solo on the 1982 song "Beat It" by Michael Jackson.

Personal life

Holdsworth lived in California from the early 1980s. Cycling was one of his favourite pastimes.He was also a keen aficionado of beer, with a particular fondness for Northern English cask ale.He experimented with brewing his own beer in the 1990s and invented a specialised beer pump named "The Fizzbuster", which, in his own words, creates "a beautiful creamy head."

Holdsworth became a grandfather in December 2010 when his daughter Louise gave birth to a girl named Rori.

Holdsworth died on 15 April 2017 at his home in Vista, California, at the age of 70. Initially no cause of death was officially disclosed. However, in a New York Times article, Holdsworth's former manager Leonardo Pavkovic was quoted as saying the cause was a heart attack.

💙💙💙💙💙