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Allan and Alan once again follow with equally impressive solos. #SHINEDOWN ATTENTION ATTENTION TORRENT FULL#This bass solo is full of his blazing pentatonic licks and soulful blues chops, as well as some very nice angular arpeggio runs. The tune begins with another great bass fill from Jimmy Haslip, who then holds down the quasi caribbean feel. This is a perfect example of one of the greatest aspects of his playing. His inventive use of chord voicings is the basis for the intro. ![]() “Pud Wud”, another Holdsworth classic, opens up with an extended guitar solo played unaccompanied by Allan using a very cool volume swell effect. Chad is once again the last soloist and takes a very musical drum solo. The tune kicks in with a 70’s fusion six feel, with a medium driving backbeat, keyboard playing arpeggios and Allan Holdsworth playing the eastern sounding melody. He uses everything from Rhodes, to organ, to distorted lead tones, to one of the best sounding acoustic piano keyboad patches I have ever heard. I will mention here that throughout this DVD Alan Pasqua displays a great ability at effectively using many different keyboard sounds. Pasqua opens the tune with an extended piano solo. The band then slows it back down for the Alan Pasqua composition “San Michele”. #SHINEDOWN ATTENTION ATTENTION TORRENT HOW TO#Chad takes his first extended solo of the night which is a great example of how to play an unaccompanied drum solo over this blues form. The song is, as its name implies, a 10 bar jazz blues, but set to a very hip and syncopated Tony Williams style groove (Ex. It was obviously written for Tony Williams, who was responsible for getting Allan and Alan together in his band “Lifetime”. “Blues for Tony” is the next selection the band performs. Allan Holdsworth takes a great solo, starting with short melodic ideas and space, then building into his trademark shredding. Then there is another crazy unison lick (they love using these) and the second section, which takes on a very open, ballad-like feel. #SHINEDOWN ATTENTION ATTENTION TORRENT FREE#The first half is a free improvisation over a shuffle feel. The next song is “It Must Be Jazz”, which is a clever name for what I assume is a free jazz improvisation (all members of the band are listed as composers), taking place at one of the country’s well known jazz clubs. The rest is pure classic fusion: An insanely fast unison line (Ex 5), pause, and back in with the groove and melody, and of course, a short drum solo. ![]() Jimmy sneaks in a slick fill before Allan Holdsworth plays one of the most absurdly great guitar solos I have ever heard. His spacious approach is in great contrast to Allan Holdsworth’s dizzying technique. I must admit, I had not heard much of Alan Pasqua’s playing prior to this review, but he is a pleasant surprise for me. Alan Pasqua is really stretching out at this point in the concert. The groove is in full force with Jimmy and Chad really locking up under the airy melody played by the two Allans (Ex 4). It is a Holdsworth classic “Fred”, from the Tony Williams album “Believe It” and is my favorite song in the program. The Holdsworth fans in the audience immediately recognize the drum setup into the next song. It takes him some time to dial in the organ sound, but once he does, his playing jumps to another level. Alan Pasqua is featured for the first time of the night. ![]() This tune features a very challenging intro section, set in an odd combination of meters, which the whole group handles masterfully (Ex. Allan is in peak form almost instantaneously playing lines that seem physically impossible less than 5 minutes into the concert.įrom the audience comes a yell, “we’re ready now” and the group launches into the Allan Holdsworth song “Looking Glass”. ![]() 2) before turning it over to Allan Holdsworth. He accepts the challenge and takes two energetic choruses (Ex. The daunting task of first solo falls onto the shoulders of Jimmy Haslip. Check out the polyrhythmic triplet fill Jimmy plays on the intro (Ex. The quartet starts the night off with a nice warm up tune, Chad Wackerman’s “The Fifth”. ![]()
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