- JANE SIBERRY'S 'Holiday Hoes & Hosers' with Special Guest CATHERINE RUSSELL - $35 General/ $50 Preferred
- Jane Siberry's 'HOLIDAY HOES & HOSERS' with Special Guests $35 General/ $50 Preferred
- JANE SIBERRY'S 'Holiday Hoes & Hosers' with Special Guest BRANDON HOWARD - $35 General/ $50 Preferred
- Jane Siberry's 'HOLIDAY HOES & HOSERS' with Special Guests $35 General/ $50 Preferred
- JESSE HARRIS AND JULIAN LAGE $20 Advance Purchase/ $25 Day of the Show
- Rob Derke & The NYJAZZ Quartet $25
09/20 8:00 PM & 10:00 PM - $35-45.00
ALLAN HOLDSWORTH, JIMMY HASLIP & GARY HUSBAND
Allan Holdsworth is widely regarded by fans and contemporary musicians as one of the 20th century’s most prominent guitarists. He is one of a handful of musicians who has consistently proven himself as an innovator in between and within the worlds of rock and jazz music. Many of music’s best-known instrumental masters cite Holdsworth as that rare and shining voice—a legendary player who continues to push the outer limits of instrumental technique and the electric guitar’s range of tonal and textural possibilities. Particularly during the 90s, Holdsworth has enjoyed the recognition so many musicians strongly feel he deserves, given that he has developed his career outside the big label mainstream and has consistently produced his own recordings with complete creative control since the mid-80s. Despite the uncompromising nature of Holdsworth’s predominantly genre-defying solo projects, he’s no stranger to all-star jazz festival line-ups or large venue rock audiences. Musician Magazine placed Holdsworth near the top of their “100 greatest guitarists of all time.” There’s never been a shortage of media attention or acclaim for Holdsworth’s accomplishments and originality. An inductee of Guitar Player Magazine’s Hall of Fame, Holdsworth is a five-time winner in their readers’ poll.
Beyond his ability in improvising mercurial solos and sculpting the guitar’s voice into an ever-expanding range of textures and colors, Holdsworth has dedicated his energies to develop many different aspects of guitar technology. This has included new “baritone” variations of the instrument, his own custom 6-string designs (one most recently manufactured by Carvin), the invention of electronic components for the recording studio, and exploring the possibilities of guitar-based synthesizer controllers. Holdworth’s ability to improvise over complex and challenging chord voicing’s always reveals a deep emotional base and a strong, imaginative personality that is as instantly identifiable as any among Holdsworth’s generation of guitar and jazz masters.
The sounds of Django Reinhardt, Jimmy Rainey, Charlie Christian, Joe Pass , Eric Clapton, and John Coltrane were among this English musician’s early inspirations when he began to work professionally as a musician in his early twenties. Born in the city of Bradford , England , Holdsworth had been extensively tutored in aspects of musical theory and jazz appreciation by his father, an accomplished amateur musician. Holdsworth paid his musician’s dues early on working the dance-club circuit, where he began to meet fellow musicians who hailed from the south. One of England ‘s best jazz tenor saxophonists, Ray Warleigh, heard amazing potential in Holdsworth’s playing and brought him along to participate in jazz sets at the onset of the 70s, including sessions with Ray at Ronnie Scotts in London .
Holdsworth’s career brought him to international audiences suddenly in the early 1970s, when he joined drummer John Hiseman’s short-lived but much acclaimed “progressive” rock band, Tempest. A decade later, Tempest vocalist Paul Williams would team up with Holdsworth again to form Holdsworth’s IOU band and create their independently-released debut recording, which prompted Holdsworth to move his home from London to Southern California . Holdsworth’s career throughout the 70s saw a series of feast-or-famine periods all too familiar to many of the most talented musicians. By 1975 Holdsworth had developed a reputation as one of England ‘s best, underrated guitarists in what was then the avant-garde of English instrumental music ensembles, the legendary group, Soft Machine. Holdsworth’s trademark sound is evident with a technique that routinely soars with supersonic intensity, and one of its earliest available samplings can be heard on the 1974 Soft Machine studio release, Bundles . While his reputation in Soft Machine attracted international audiences, he also gained the attention of one of jazz’s greatest drummers, the late Tony Williams, known for his pivotal role in bringing Miles Davis to explore rock-based riffs and motifs in an improvisational context. Holdsworth recorded on one of the most celebrated fusion albums from the mid-70s, Believe It , (Epic), as a member of the Tony Williams’ New Lifetime. This marked the beginning of Holdsworth’s career as a legendary journeyman, but one rarely performing before U.S. audiences.
Between 1976 and 1978 Holdsworth’s guitar sounds and solos emerged as a mesmerizing tour de force and he participated in many of that era’s landmark jazz-fusion and instrumental rock recordings by Jean Luc Ponty ( Enigmatic Ocean ), Gong ( Gazeuse! ), and Bill Bruford ( Feels Good To Me , One of A Kind ). Late in the 70s, the once dominant genre of classic British “prog rock” stumbled on unsure footing as the punk and new wave bands rose in commercial prominence. Drummer Bill Bruford, a founding member of Yes who later joined King Crimson, suggested Holdsworth participate in a new project featuring the formidable rhythm section of King Crimson and a brilliant young violinist/keyboardist Eddie Jobson, who had worked with both Frank Zappa and Roxy Music. The resulting debut album, U.K . , became what was later considered the last and greatest milestones of 70s progressive rock. The band’s sound was at the time both technically and artistically at the cutting edge of rock music, given the coupling of Jobson’s innovative use of synthesizers and electric violins, coupled with Holdsworth’s unconventional chord voicings, searing solos, and passionate melodic phrases. The U.K. “supergroup” setting was as brilliant as it was short-lived, and egos and questions of creative direction led to a split between Bruford and Holdsworth on one side, and Jobson and bassist John Wetton on the other. In 1996 Guitar World cited Holdsworth’s contribution to U.K . as the factor in naming it one of the top 10 rock guitar albums “of all time.”
In 1978, Holdsworth decided he wanted to pursue a different, more live-based direction as opposed to his recent participation in lush, studio-crafted masterpieces. He sought out a more immediate, less intricately arranged band context than what had been established with Bruford, in order to explore a rock-oriented musical context that also explored extended instrumental ensemble improvisations. Holdsworth wanted to rediscover some of the energy and dynamics that had been so memorable in his live performances working with Tony Williams, and reluctantly parted company with Bruford’s band. Holdsworth began to develop his own trio with two other Northern English musicians, drummer Gary Husband, and bassist Paul Carmichael, which begun Holdsworth’s first touring band as a leader, the now-celebrated IOU band. Their first recording IOU sold exceptionally well for an independent release, and Holdsworth’s friend and admirer, guitarist Eddie Van Halen, proved instrumental in securing IOU a recording contract with Warner Bros. Executive Producer Ted Templeman wanted to experiment with a “mini-album” concept, which resulted in the 1984 Grammy-nominated release, Road Games , which featured vocal cameos from long-time Holdsworth collaborator, the legendary Jack Bruce. It also featured a new American line-up, with Jeff Berlin and Chad Wackerman comprising the rhythm section. However tensions with the label over creative control led to a split between Holdsworth and Warner Bros. In 1985 Holdsworth signed with the Enigma label, enjoying creative control, and Jimmy Johnson joined the group after Jeff Berlin’s departure to pursue his solo career. Holdsworth then recruited one of the most respected L.A. session bassists, Jimmy Johnson, leader of Flim and the BBs. The last version of the IOU band went back in the studio and with some notable guest appearances (among them bassist Gary Willis and original IOU drummer Gary Husband) contributed to tracks for the highly successful release, Metal Fatigue (1985).
In the past decade Holdsworth has varied his music career, engineering and inventing electronic sound-processing tools, including The Harness. He has several unique electric guitar designs now produced by Carvin, and has worked with luthier DeLap in conceiving custom baritone and piccolo guitars. In fact one of the larger and longer baritones is featured on all three improvised pieces in the new live album, Then! In his expanded and improved home studio, Holdsworth is already writing material for a new album of original pieces, and is planning to participate as a guest musician in several other projects as an engineer/producer. Whether he is playing instruments with the latest electric guitar innovations, piccolo, baritone guitars, or the Synthaxe, Holdsworth remains never quite satisfied in his eternal “quest for the perfect tone.”
Jimmy Haslip was born December 31st, 1951 in the Bronx, New York. He grew up in Huntington, Long Island. In 1963 at the age of 13, he became interested in electric bass and has now been playing for 47+ years. Jimmy left New York in 1969 playing music in San Francisco, New Orleans, Denver and Dallas before moving on to Los Angeles in late 1975, where he began touring and recording with many different popular artists.
In 1978 he met guitarist Robben Ford and keyboardist Russell Ferrante and formed a group to record Robben’s first solo recording on Electra-Asylum. This critically acclaimed album, called ” The Inside Story” became a landmark recording. That album led to the formation of The Yellowjackets and in 1980 they recorded a debut album for Warners Bros. Records.
Jimmy is actively composing, arranging, producing and performing with Yellowjackets, who will be touring and promoting their newest recording in 2011, their 21st CD entitled “TIMELINE” on the MACK AVENUE recording Label. Yellowjackets, the two time Grammy winners, have been nominated for seventeen Grammy’s. Jimmy was also nominated for an Edison award in 2000. and this year, another Grammy nomination, his 18th for the Jeff Lorber Fusion “NOW IS THE TIME” recording.which he co-produced.
Gary Husband is a British jazz and rock drummer, pianist and bandleader. He is best known for his emotive and dynamic style on both his primary instruments, the keyboards and the drums. He is also a composer, arranger and producer of merit and has released more than nine studio albums.
Husband is additionally renowned for his wide musical diversity, and aside from his solo career he is also active in many other areas of music on a consistent basis.
He is a member of John McLaughlin’s group The 4th Dimension, and also performs frequently with artists or Musical ensembles such as Germany’s Norddeutscher Rundfunk Big Band, drummer Billy Cobham, guitarist Allan Holdsworth or as a solo piano artist. As aSideman/Session musician, Husband has also performed or recorded with Jeff Beck, Level 42, Robin Trower, Jack Bruce, Nguyên Lê,Lenny White, Randy Brecker, Foley (musician), Al Jarreau, Hessischer Rundfunk Big Band, Sir George Martin, Quincy Jones, Andy Summers, Gary Moore, UK, Mike Stern among a great many others.