Allan Holdsworth remains an enigmatic figure in the world of guitar, a virtuoso whose groundbreaking technique and harmonic sophistication have captivated musicians for decades. In a revealing interview from over a decade ago, Holdsworth himself expressed bewilderment about his place in the music industry. He couldn’t understand why jazz radio, in particular, seemed to ignore his music, especially when he felt much of what they played was far removed from the essence of jazz. “For example, a jazz radio station will be reluctant to play any tracks from any of my albums, which is a drag because they’re playing music that is, in my opinion, far less jazz than what we do,” he noted, highlighting the frustrating genre boundaries that seemed to confine his expansive musical vision. This sense of being in a “no-man’s land,” as he put it, between rock and jazz, never deterred him from pursuing his unique artistic path.
A Unique Voice in a No-Man’s Land
Throughout the 80s and 90s, Allan Holdsworth continued to create music that was deeply cherished by a dedicated global following of guitar players and enthusiasts. Despite consistently producing albums of exceptional quality, his work often went unnoticed by the mainstream jazz press and radio. This oversight is particularly striking considering the profound impact he had on the guitar community. For countless guitarists, Holdsworth embodied the ultimate goal: to transcend the instrument’s percussive nature and achieve the fluid, seamless lines reminiscent of saxophone masters. He had already achieved this saxophone-like legato style in the 1970s, and spent his career refining it, arguably coming closer than any other guitarist to channeling the spirit of John Coltrane on the guitar. His influence, though perhaps not widely recognized in mainstream circles, is undeniable among serious musicians.
The Coltrane Revelation: Birth of a Legato Style
John Coltrane was more than just an influence for Allan Holdsworth; he was a transformative force. “He just kind of completely turned my life upside down,” Holdsworth confessed, recalling the impact Coltrane had on him at the age of 18. Hearing Coltrane’s improvisations alongside Cannonball Adderley on Miles Davis’ recordings was a pivotal moment. While he admired Adderley, it was Coltrane’s playing that truly resonated, feeling utterly unique and untethered to any discernible musical lineage. This revelation sparked a lifelong quest for Holdsworth: “I realized then that what I needed to do was to try and find a way to improvise over chord sequences without playing any bebop or without having it sound like it came from somewhere else. And it’s been an ongoing, everlasting quest.”
Ironically, the guitar was not Holdsworth’s first choice instrument. He initially yearned for a saxophone, but financial constraints led him to a second-hand acoustic guitar from his uncle. His father, a piano player, provided foundational knowledge of chords and scales. However, lacking guitar-specific instruction, Holdsworth developed his distinctive, unorthodox technique organically. He transposed piano concepts to the guitar, forging a unique path through relentless practice and experimentation. This self-taught approach, born from circumstance, became a cornerstone of his innovative style.
The breakthrough to his signature “warp speed” playing came with the realization that not every note needed to be picked. This insight became the foundation for his incredibly fluid legato technique. He dedicated countless hours to practicing scales, focusing on playing multiple notes per string using hammer-ons and pull-offs to create seamless, sustained lines. His goal was to blur the distinction between picked and hammered notes, achieving a continuous flow of sound. This dedication led him to perceive “flurries of notes as a whole from beginning to end rather than hearing one note after the other,” a hallmark of his mature style.
From Yorkshire to Fusion Pioneers
Allan Holdsworth’s groundbreaking guitar work first gained wider attention through his involvement with progressive rock bands in the early 1970s, including Tempest, U.K., Soft Machine, and Gong. His reputation then extended into the burgeoning jazz fusion scene through collaborations in the mid-70s with prominent figures like drummer Bill Bruford (on albums like Feels Good to Me and One of a Kind), violinist Jean-Luc Ponty (Enigmatic Ocean, Individual Choice), and Tony Williams’ New Lifetime (Believe It, Million Dollar Legs). While he remained somewhat under the radar for mainstream rock and jazz audiences, within the guitar community, he was ascending to legendary status. Esteemed guitarists such as Carlos Santana, Eddie Van Halen, Neil Schon, Scott Henderson, and Larry Coryell openly admired and celebrated his musical genius.
The Sixteen Men of Tain: A Jazzier Turn
A journey through Allan Holdsworth’s discography, particularly his ten albums as a leader since his 1979 debut, I.O.U., reveals a guitarist of unparalleled technical prowess and artistic depth. His linear phrasing, advanced harmonic concepts, unique chord voicings, and orchestral approach to arranging, coupled with his improvisational daring, set him apart. However, with The Sixteen Men of Tain, released in 2000, Holdsworth arguably reached a new peak. Supported by the dynamic rhythm section of drummer Gary Novak and bassist Dave Carpenter, the album showcased his most overtly jazz-oriented work to date. While his signature legato technique remained central, the swinging, interactive rhythm section amplified the connection to his Coltrane influences.
Tracks like “The Drums Were Yellow,” a vibrant tribute to Tony Williams, exemplify Holdsworth’s breathtaking improvisational freedom. This duet with Novak highlights the saxophonic quality of his guitar conception, building in intensity and showcasing “sheets of sound” reminiscent of Coltrane. The album’s overall “jazzy” feel is further enhanced by trumpeter Walt Fowler’s contributions and Novak’s lighter, more interactive drumming style compared to previous collaborators. This shift allowed Holdsworth to explore different dynamic ranges and swing harder than ever before, as evident in the title track, where Novak’s elastic time feel perfectly complements Holdsworth’s complex harmonies and fluid lines.
SynthAxe and the Pursuit of Horn-Like Tones
Throughout the 1980s, the SynthAxe became a significant tool in Holdsworth’s sonic palette, aiding his quest to emulate the non-percussive qualities of horn instruments. “Because I always wanted to play a horn, which is a non-percussive instrument, the guitar is essentially a percussive and I try and make it sound like it’s not,” he explained. The SynthAxe, with its breath controller, offered him the ability to shape notes in ways not easily achievable on the guitar – manipulating volume, vibrato, and timbre after the initial attack. This technology, combined with his guitar chordal vocabulary, provided a unique textural dimension that fascinated him, particularly explored on albums like Sand (1987) and Secrets (1990), which he considered the pinnacle of his SynthAxe explorations. While initially engrossed by the SynthAxe, he eventually viewed it as a supplementary color in his musical arsenal, returning to the electric guitar as his primary voice on albums like The Sixteen Men of Tain.
An Evolving Legacy
Even as he explored new sonic territories, Allan Holdsworth always emphasized the constant evolution of his playing. “I think it’s evolving constantly,” he reflected. “I mean, I can hear it. I don’t feel like I’m forcing it anymore; it just seems to be natural. It’s becoming more organic.” This lifelong dedication to learning and exploration defined his artistic ethos. He embraced the endless possibilities of music, finding appeal in the idea that mastery is an unattainable horizon. “It’s nice to know that you can never know. And once you get used to the idea, it’s really appealing-to know that I’ll never know anything. I like that, actually.”
Holdsworth’s Gear
To achieve his distinctive sound, Allan Holdsworth relied on specific instruments and equipment. He favored a custom hollow body guitar designed in collaboration with Carvin, describing it as a “closed semi-acoustic” instrument that offered enhanced dynamics. He also utilized Steinberger headless guitars and custom Bill DeLap headless guitars, along with sparing use of the SynthAxe. His amplifier setup featured Yamaha DG-80 amplifiers and DG-1000 pre-amps, praising their out-of-the-box sound quality and ease of manipulation. He streamlined his effects to a minimal setup using Rocktron Intellifex processors.
Conclusion
Allan Holdsworth’s legacy as a guitar player is one of unwavering artistic integrity, relentless innovation, and profound influence. Though he may have felt like he occupied a “no-man’s land” in the music industry, his singular voice and groundbreaking approach to the guitar have cemented his place as a true legend, inspiring generations of musicians to push the boundaries of their instrument and musical expression. His quest for a horn-like legato style, his harmonic sophistication, and his commitment to constant evolution remain hallmarks of his enduring contribution to the world of music.
