All Our Yesterdays: An Annotated Chronology

     This chronology is assembled from album liner notes, published and filmed interviews with Allan (plus a select few from bandmates), the Chris Hoard-edited book "Reaching for the Uncommon Chord", and the REH instructional video "Just For the Curious" (assisted by Aaron Stang).  The numbers in parentheses refer to the sources listed in the Bibliography.  Some dates are also sourced from the Calyx-Canterbury reference site, though the original sources of those dates are not clearly sited (these are marked with "CC").


Prelude: Formative Years with Debussy and Coltrane
Sam Holdsworth tries to make a living in London as a jazz pianist, but decides it's not worth it and returns to his family in Bradford.  He works a "day job" as a warehouseman, while his wife Elsie works as a cleaner at the local police station. (16)
1946.08.06: Allan is born.  He never knew his father, but instead is cared for mainly by his grandparents Sam and Elsie, whom he usually refers to as his parents (“my Dad”). (16)
(Age 3?) At a very early age, Allan finds himself emotionally moved to tears by Debussy’s “Clair de Lune” from Suite bergamasque (a musical portrait of a Paul Verlaine poem). (48)
(Age 5 or 6) Sam makes a record player for Allan out of a wind-up turntable. (27)
Allan is exposed to Sam’s jazz piano playing at home, as well as Sam’s record collection, which includes albums by Bix Biederbecke, Benny Goodman (with Charlie Christian), Artie Shaw, Dizzy Gillespie, Cannonball Adderley, Django Reinhardt, Art Tatum and Fats Waller, all the way up to Charlie Parker. Allan later also buys alot of Oliver Nelson albums, intrigued by his arrangements and by some albums Nelson did with Jimmy Smith. (16, 41, 68) 
From Sam’s classical collection, Allan also enjoys music composed by Maurice Ravel, Clause Debussy (as indicated above), Frederic Chopin, Bela Bartok (in particular) and Igor Stravinsky.  Allan later mentions works such as Bartok’s String Quartets, the “Concerto for Orchestra”, and “The Miraculous Mandarin”, and Ravel's String Quartet as having a major impact. (34, 53, 66)
1960: (Age 14, 15) Allan leaves school, and soon gets a job at a bike shop. (33, 1)
1961: (Age 15): Allan becomes interested in learning a blown instrument such as clarinet or sax.  Instead, he gets an acoustic guitar which Sam buys from Allan’s uncle (this guitar may actually have been (or been preceded by) his mother Vera’s acoustic Spanish guitar).  It lays around for a couple years unplayed, but years later Allan begins to noodle around on it. (16, 64, 35, 27, DD)
Allan's father buys him an f-hole cello (arch-top) guitar (probably a Hofner President). (16)
1963 (Age 17): After seeing an electric guitarist in a pub, he, his father and/or a friend of theirs attaches a pickup to his f-hole cello guitar. (16, 51, 5, 67)
Sam's friend builds an amplifier for Allan’s guitar.  Allan is intrigued by the building process and learns from observing the process. (51, 17) 
Allan gets a 15-watt amp from his parents (possibly the same one Sam’s friend built?) which produces a nice horn-like texture when it feeds back. (34, 7)
1967 (Feb?) (Age 21) Allan discovers (or rediscovers) his first John Coltrane record, “Coltrane's Sound”, which makes a huge impression on him (especially “Satellite”). (16, 48).  He gets as many Coltrane records as he can, including older records with Miles Davis and Cannonball Adderley. (51, 48, 35).  He also introduces his father (Sam) to Coltrane’s music (although Sam actually already had some of Miles and Trane’s joint sessions on records). (27)
1967, July – Coltrane dies and Allan is shattered by losing this new-found hero of his. (27)
Allan becomes interested in some local Skiffle music. (51)
Allan tries learning some guitar technique from Ivor Mairantz' 'Exercise A Day', but loses interest and chooses to “follow his own nose”. (5)
Sam tries to teach Allan how to play the guitar using his jazz piano background.  From this, Sam teaches Allan closely-voiced chords based on piano voicings.  At some point Sam also advises Allan to avoid using open strings while practicing scales (in order to take advantage of the transposig nature of guitar). (34, 64, 66)  Sam later becomes an actual guitar teacher and skilled chord-melody guitar-player himself. (27)
Now playing some guitar (and inspired by Coltrane), Allan takes a greater interest in Sam's old collection of jazz guitar records, including ones by Jimmy Rainey ("Jimmy Raney In Three Attitudes"), Joe Pass ("Catch Me "), Barney Kessel, Tal Farlow, Jim Hall, Wes Montgomery ("Missile Blues") and Charlie Christian and many of these players become Allan's first major guitar influence.  He especially likes Jimmy Raney and Charlie Christian’s tones because their guitar tones are more lively, more “vocal” -  with more “sparkle” and not as “dumpy and rubber-band-sounding, like the other players”. (35, 51, 64)
At some point, Allan is influenced by Tony Hicks, from Manchester’s “The Hollies”. (70)
A guitarist friend leaving a local band lends Allan his Fender Strat during Allan’s audition for that guitarist’s position, and Allan is impressed at how it sounds like his hero Hank Marvin’s guitar (from the Shadows).  Allan buys his own (blue) Fender Strat, but 6 months later, in a Kitchens department store in Leeds, Allan is transfixed by a cherry red Gibson SG Standard, which he buys.  Allan’s preference for Gibson SGs continues for the next 10 years. (5, 7, 16, 51, 67). 
Allan plays in Top 40 pop bands and workingmen’s clubs.  A couple bands include “Jimmy Judge and the Jurymen” and “Margie and the Sundowners”.  Allan also plays in some blues bands.  While practicing guitar blues licks at home, an unimpressed Sam shows Allan an example of jazz (bebop-based) blues.  Allan decides to avoid playing any recognizable blues licks from then on. (5, 40, 48, 71)
Allan learns to copy Charlie Christian solos off of a record.  He soon realizes that he needs to concentrate on a soloist’s inherent spirit and individuality, not just their notes and rhythms, as he discovers that his own original solo choruses are lacking (“nowhere”).  He also begins listening to horn players. (16) 


1: 'Igginbottom
Inspired by the advanced harmonic concepts he hears in John Coltrane's saxophone playing, Allan begins exploring his own scale theories, including the use of synthetic scales which exceed one octave before they complete. (32, 39, 66) More on this here.
Harmony-wise, Allan starts to experiment with unusual chord sequences as part of his exploration of lead playing (ie - trying out solo leads over chord patterns).  Unhappy with the sound of traditional 7th chords, Allan systematically finds all of the 3, 4 and 5-note chords possible on the guitar (in all of their inversions) for 3 adjacent strings, and discards the ones he doesn’t like.  (23, 34)
Allan plays his Gibson SG through a Vox AC-30 amp (this SG/Vox combo is used for the ‘Igginbottom record).  (7, 61)
Allan and Steve Robinson begin playing together (rehearsing) in what would become ‘Igginbottom (Steven Robinson (guitar), Allan Holdsworth (guitar, vocals), Dave Freeman (drums) and Mick Skelly (bass).  They work on playing simultaneous but different stacked chords (8-note polychords).  This is partly inspired by Oliver Nelson’s use of close chordal voicings. (25, 48)
1968-69: Mick Jackson, a friend of Steve Robinson’s (and bass player for the successful pop band “A Love Affair”) visits Bradford and is invited to a rehearsal with Steve’s band.  He is impressed by ‘Igginbottom (whose name is actually Mick’s suggestion), although ‘Igginbottom doesn’t really do any local gigging.  “The Love Affair” become ‘Igginbottom’s managers.  (70)
1969: A few months later, Mick convinces Ronnie Scott to host a “Guitar Festival” night at his Soho club, featuring John Williams, and Barney Kessel.  Ronnie Scott is impressed with ‘Igginbottom in the Upstairs room before the evening show begins.  ‘Igginbottom plays last, and but ends with a big ovation. (70).  
1969, Nov: ‘Igginbottom performs twice at the Marquee Club, opening for “Shades” and “Aynsley Dunbar’s Retaliation”. (CC).  At some point drummer John Marshall and multi-instrumentalist Karl Jenkins (both later in Soft Machine) see ‘Igginbottom perform as well.  (75)
1969: On one Marquee date, ‘Igginbottom joins Tony Oxley, Gordon Beck and the Ronnie Scott Big Band, with arrangements by John Cameron, Beck and Scott. (40, Dave Freeman)
“Igginbottom’s Wrench” is recorded in a small studio located at the West End of London, (Allan claims Abbey Road).  The only major problem encountered is the engineer-mandated low volume employed by the group due to their noisy amps.  Allan is frustrated that he isn’t permitted to overdrive his amp tone in the recording sessions.  The instruments are recorded live to tape in one night, almost all in 1st takes, with the vocals added the second night. The band is unhappy with the recorded sound, but the record is released anyways on a Decca sublabel, Deram.  At some point the band do some demos at Matthias Robinson Studio (the Orange amps’ designer’s house) resulting in a somewhat better tone. (40, 48, 70, Mick Skelly)
Allan is commissioned to write music for a new promotion being launched by British Airways.  (70)
The ‘Igginbottom record does not sell and ends up in the cut out bins. (Discogs web comment)   ‘Igginbottom disbands.  
1969: Allan begins playing nights with the Glen South Band (a 12-piece dance/pop/Top 40 band) at the Mecca ballrooms of Sunderland (for 2 years, and then later 1 year at the Ritz in Manchester) (40, 67).  Allan gets to do 2 solos per song, the second an original one. (29)
Allan tries to play sax (as taught by the sax player from the Glen South band) and clarinet (as well as showing interest in oboe and English horn) but, due to the embouchure pressure necessary, has issues with blowing out/perforating his eardrums and getting ear infections, and abandons the idea.  Frustrated by these health limitation, Allan finds a violin in a junk shop which he refurbishes in order that he can somehow still explore the shaping of a note after its initial attack. (17, 22, 34, 40)
Intermittently during this period, Allan works days as an apprentice basket-maker, in a wool factory and possibly also a shoe factory. (1, 4, 13, 16, 33, 35)


2: London Jazz and Ian Carr
Allan attends a Musicians’ Union tour/jazz workshop at Newcastle featuring bassist Graham Collier, pianist Geoff Castle, trombonist Derek Wadsworth and alto sax player Ray Warleigh. After attending the first clinic/performance, Allan sits in with them on the next day (or possibly that same evening). (16, 29, 40)
The Glen South Band moves to the Ritz in Manchester.   
6 or 7 months later, sick of the Glen South Manchester gig, Allan moves to London and is hosted by Ray Warleigh.  Ray gets Allan on some gigs with him at Ronnie Scott’s, joined by pianist Pat Smythe.   While playing with Smythe, Allan also plays with drummer John Marshall (later of Soft Machine).  Some of these dates are Musicians Union clinics organized by Brian Blain. (29, 33, 40)  
At some point in the transition from Bradford to London, Allan is forced to sell his first SG Standard.  His next guitar is a Hofner Colorama with a bent neck and a broken truss rod.  Allan soon replaces it with another Gibson SG (Custom?) guitar, which sounds nice but is not as well made as his previous SG (3, 5, 33).  He is probably using the Vox AC30 or a Marshall for his amps.
(1972, June?) Allan does some casual improv sessions at Jamie Muir’s house with "Sunship", also including Alan Gowen, Laurie Baker, and Lyn Dobson. (36, 40, 41)  Sunship has one show at Goldsmith’s (although Allan doesn’t remember it). Allan also plays (very) briefly with Laurie Baker's band "Maze".  (CC)
1972.07: Allan records “Belladonna” with Ian Carr (contacted possibly through the Bradford Musicians’ Union clinic performance).   The record is produced by Jon Hiseman, who would soon be recording with Allan in Tempest , 4 months later.  Allan tours with this new version of Nucleus (including band members Dave McRae and Gordon Beck, whom Allen had met during the ‘Igginbottom days) in England and Europe. (40)  "Nucleus+" plays scattered dates from June to August. (CC)
(1972: Tony Williams records “The Old Bum’s Rush” with Laura 'Tequila' Logan (guitar/perc/vocals with Tony), Webster Lewis on organ & clavinet, David Horowitz on piano, vibes, and ARP synthesizer, Tillmon Williams (sax), and Herb Bushler on bass.  This group will later reassemble in 1974 with Allan in Stockholm, Sweden.)
1972 September - Ronnie Scott Club Guitar Festival (2 weeks residency)  “Allan Holdsworth Trio” with Ron Herman (double bass) & Nigel Morris (drums), also John Williams and jazz guitarist Barney Kessel’s trio. (1, CC)


3: Tempest
1972, Oct: Allan is invited by Colosseum’s Jon Hiseman to audition for Tempest (from a recommendation from Derek Wadsworth, who’d seen Allan at the Newcastle Musicians Union clinic). Tempest is completed with Mark Clarke (Colosseum) and Paul Williams (lead vocals, some percussion, guitar and keyboards, from various bands including Zoot Money's Big Roll Band , Juicy Lucy, Ainsley Dunbar and John Mayall). (1, 3, 29, 40, CC)
1972, Nov: Allan records with Tempest using a Gibson semi-acoustic, after trying out and liking Paul Williams’ ES-335. He also records with an ES-175 (he doesn’t sell off the SG Custom, though).  (11, 33, 51)  5 of 8 songs have Allan as a co-or sole composer.
1972.11: Allan plays with Ian Carr’s Nucleus on BBC Radio.
1973.01.05: Tempest 1st show in Oslo Norway (CC)
1973.01.17 and 26 – Stockholm and Malmo, Sweden Radio broadcasts
1973.01.12- 73.03.xx Tempest tours Europe and the English University circuit (1)
1973, March: Tempest tours America (Allan’s first American trip).  They play 13 shows with Fleetwood Mac, including venues such as the Fillmore East. (10, 16, CC)
1973.05.27: Turned off by Hiseman's musical direction (towards a more Cream-style rock power trio), Allan indicates that he wants to quit Tempest.  Ollie Halsall (from Patto) is chosen as a new (additional) member, just prior to a May 27 gig (bill with Vangelis) at the Queen Elizabeth Hall (London debut, CC).  Halsall’s tremolo arm technique makes an impact on Allan. (3, 5, 73)
1973.06.02: Tempest with Allan and Ollie play the BBC, which is the last time Allan sees Ollie Halsall. (73)
When Allan officially leaves Tempest,  Paul Williams also quits (due partly to the rigors of touring overseas).  Tempest continues with Ollie Halsall as a trio. (3, 74)
After Tempest, Allan continues jazz sessions with Pat Smythe and others. (7, 16).  
At some point after Tempest’s American tour, Pat Smythe’s group is scheduled to open for Chuck Mangione at Ronnie Scott’s.  Chuck is sick, so Pat and Allan sit in with the remainder of the band (Joan La Barbara and Pat La Barbara on drums and Alphonso Johnson on bass).  Alphonso Johnson is impressed with Allan’s playing, and would later tell Tony Williams about it.  (29)


4: Soft Machine
Brian Blain pairs Allan up with the latest version of Soft Machine (now including Allan's jazz combo partner John Marshall) for an Ilfracombe Musicians’ Union clinic (Nov. 10-11, 1973).  By December, Allan is invited to officially join the band and is intrigued by the complex time signatures employed in the compositions. (3, 4, 33, 65, 78, CC)
1974, Jan: Soft Machine tour Italy, Germany. (CC)
1974, Feb-Mar:  Soft Machine tour Canada and North America. (CC)
1974.07.16-18, 23-26 (CC) – Allan records “Bundles” with Soft Machine.  His solo on the song “Hazard Profile” (a reworking of Jenkins’ Nucleus song “Song For the Bearded Lady”) is one of his longest ever.  (33, 40).  “Bundles” is finally released in March 1975. 
1974, July-Nov: Soft Machine play the Montreux Jazz Festival (July 4), and other places in Europe.  In the video “Soft Machine – Switzerland 1974” Allan can be seen playing his white SG Custom.  (78)
1974.10.06: Soft Machine performs on BBC3’s “Jazz in Britain” (“BBC Radio 1971-1974”)
Sometime during this period, guitar luthiers Dick Knight and his son-in-law Gordon begin doing regular guitar-body work for Allan, sometimes at discount rates (although Allan still does his own wiring). (11)


5, 6: Tony Williams/ Velvet Darkness
In America, Tony Williams is looking for a guitar player (for a project with Jack Bruce and Lifetime “Bum’s Rush” players Laura "Tequila" Logan (v), and Webster Lewis (kb)).  Alphonso Johnson (who had seen Allan play at Ronnie Scott’s some months ago) recommends Allan to Tony. (48, 63)
1974.10: Allan joins Tony, Jack Bruce, Tequila and Webster in Sweden to record the “Wildlife” album (Allan at one point refers to it as more of a Jack Bruce date than a Tony Williams project).  The album is not released and Tony returns to the States.  Allan returns to England and continues with Soft Machine.  (48, 63, CC)
1975, Jan: Soft Machine begin touring Europe and the U.K. (CC)
1975.01.29: Soft Machine Radio Bremen performance (“Floating World Live”).  (75) 
1975.03: Soft Machine’s “Bundles” finally comes out.
1975, Late March: After Allan finishes the winter Soft Machine tour, Tony Williams asks Allan to join him in NYC to make a new Lifetime band and record under a new CBS Columbia deal.  Allan abruptly quits Soft Machine just days before a new tour to promote “Bundles”,  but leaves a note recommending replacements Ollie Halsall and John Etheridge (who ends up with the gig) to the Soft Machine.  (29, 40, 48, 63, CC) 
After arriving in NYC, Allan eventually ends up staying at an upper floor of Tony’s townhouse at 141st Street and Broadway, as they look for band members.  They audition many bass players, later including with Jaco Pastorius (Dec?) and Jeff Berlin, but neither are chosen.  Eventually, Tony Newton’s audition tape catches Tony’s interest.  Tony Williams plays with  George Russell’s big band at Carnegie Hall one night.  Allan points out Russell’s keyboardist Alan Pasqua and recommends him for the new Lifetime band.  With Newton and Pasqua aboard, the new quartet begin rehearsing new songs. (48, 65, 80)
June 5-8: Lifetime plays at the Bottom Line club, with opener the Joe Beck Group. (CC)
Allan’s favorite white SG Custom is repainted a couple times until it ends up as blue.  (62)  While Allan is “out in the country” visiting his girlfriend, he hears that it has been mysteriously sold off to a pawn shop by Tony’s tour manager to get back his/her fee.  After returning to NYC, Allan sees the guitar at a music store but can’t afford to buy it back, and so buys a black 1961 SG Custom. (35, 62)
1975.07: Lifetime records “Believe It!”.  Pasqua writes Proto-Cosmos.  Allan takes a ballad, “Kinder” (“children” in German) and renames it “Fred” (his 1st wife’s nickname) when the band speeds it up for the record. (16)  He uses an MXR phaser on some tracks.  While working with Bruce Botnick, Allan finds his preferred miking set up (“Neumann U87 placed between the center and the edge of the cone.”). (37, 61) Live, Allan can be seen playing his white Gibson SG Custom as well as a Small Stone Phaser with a Marshall stack (51, 64).  At some point in the next year, Allan acquires a 1973 Stratocaster, but is unhappy with the magnetic interference from the pick-ups on the strings (16).  
1976, Jan, Feb: (CC) Lifetime play a couple dates at the Bottom Line (19-21) and the Village Gate (2/2), George Benson and Joe Farrell recommend Allan to Creed Taylor’s CTI records.
1976, Feb-Mar – Midwest dates with Lifetime. (CC)
1976, May (24-26) (CC) & June: “Velvet Darkness” is written in 2 weeks and recorded in 9 hours at Rudy Van Gelder’s studio in NJ (Allan Holdsworth – guitar, violin/Alan Pasqua – piano/Narada Michael Walden – drums/Alphonso Johnson – bass), but without Allan’s approval and eventually released on CTI.  Allan uses Tony’s girlfriend Tequila’s acoustic guitar.  (3).  The title track would reappear in future albums with Gordon Beck.  The song “Wish” returns later in “The Things You See” with Gordon Beck and IOU. 
1976, June: “Million Dollar Legs” is recorded in Colorado and Hollywood.
1976, July (CC): Mid-tour, the band are stranded in San Francisco with no money.  Tony returns alone to NYC to straighten out management and money problems.  Pasqua lends Allan money to get back to the East coast, but Allan is eventually forced to sell his beloved black 1961 Gibson SG Custom in order to get enough money to fly back home to London alone (but still with the ’73 Strat). (7, 35, 40)


7, 8, 9: Gong/John Stevens/Jean-Luc Ponty
Back in England, guitar luthiers Dick and Gordon Knight make a maple neck (with ebony fingerboard) for the $300 Strat Allan brings back from the States. He also replaces the Strat’s 3 single coils pick-ups with 2 PAF humbuckers salvaged from Allan's previous SG Customs (center position). This guitar is used from Gong (first heard on the Gazeuse! Album) thru UK (but is sold before the move to California).  Allan also acquires 2 more guitars: one made by the Knights with a maple neck attached to a Boogie maple body, fitted with Dimarzio (Gibson copy) PAF pick-ups (5, 16), and one with an ash Boogie Telecaster body fitted with a Jazzmaster neck.  He also owns an Ibanez cello guitar (L5 copy) and a 1938 Gibson Kalamazoo acoustic.  For lead  tones he uses Marshall 50 W heads with 4x12 cabinets and for clean, 2 Marshall 100s with a short Dynachord stereo delay.  He also uses a Burman amp for lead sometimes.
Harmony-wise, Allan experiments with stacked polychords built from both the same key and different keys. (5, 6)
1976, July (CC): Nikolas Powell, a friend formerly with Virgin records, begins to manage Allan, and hooks him up with the French group Gong.(40).  They tour Europe and the UK through Oct. (CC)
1976 (11, CC): Gong (Pierre Moerlen's Gong) releases “Gazeuse!” (or “Expresso” in the US) featuring Allan with Moerlen’s various percussion-based musicians.  2 are Allan songs.  “Velvet Darkness” is a reworking of a song from the CTI record.
Allan leaves Gong around the end of the year (or they break up?).
1977, May 9-13, July 4-7: Bill Bruford invites Allan to begin rehearsals for his new band. Neil Murray plays bass for awhile, but is eventually replaced with Jeff Berlin.  (CC)
1977.05.18, 19: In London, Allan records tracks for “Touching On” and “Re-Touch” with John Stevens (drums), Barry Guy (b), Ron Mathewson (b), and Jeff Young (p).  "Touching On" is assembled from band-approved tracks, and "Re-Touch" is essentially "outtakes". (36)
Tony Williams asks Allan to come back to America, but Allan this time defers. (40)
1977, June: Allan records with Jean-Luc Ponty on “Enigmatic Ocean” (in California (CC)) (16)
1977.08.08: Bruford sessions begin.
1977.08: Allan plays on 3 tracks on Gong’s “Expresso II” album (released March 1978).
1977.08.14: BBC2 Concert: Allan Holdsworth/Pat Smythe Quartet w Darryl Runswick (b) and Harold Fisher (d) (includes “White Line”)
1977.11.14: BBC2 Concert: Allan Holdsworth/Pat Smythe Quartet w Ron Mathewson (b) and Martin Drew (d)
1977.11.15: BBC3: “Conversation Piece”: Allan does a 3rd free improv with John Stevens, Gordon Beck and Jeff Clyne (b).  This grouping is sometimes named “Plough”, probably since they played The Plough so often (CC).


10-13: Bruford, U.K.
1977.08: Allan records as a quintet with Bill Bruford (Yes) and Annette Peacock in “Feels Good to Me” (released Aug 78).  Jewff Berlin plays bass, Dave Stewart plays keys, with guest Kenny Wheeler on trumpet. (16)  With Bruford, he adds a 50 watt Hiwatt top to his Marshall 4x12 cabinets, all with modded elements. He says he no longer uses a noise gate or an MXR phase shifter(3)
Robert Fripp invites Bill Bruford, Eddie Jobson (Roxy Music, kb) and John Wetton (King Crimson, b) to be in his new band but backs out at the last minute.  Jobson suggests they carry on without Fripp, and Bruford brings Allan into the group, now called U.K.. (16)
1977.12 – 1978.01: Allan records with UK (released Mar 78), but musical conflicts arise (10, 13, 33, 36).  The Strat with “chiselled in” Dimarzio PAF pick-ups is still in use, with the Marshall 50W and 2 4x12 cabs. He also owns a Gibson 12-string and an Ovation acoustic, neither of which are used much. He mainly uses his Ibanez Gibson L5 copy. The album is recorded with overdubs (rhythm section, then leads).  The songs themselves are pieced together from fragments composed separately in rehearsals (4)
1978.04-05: UK gigs in UK
1978.06-08: UK tours Canada and the US
Allan meets Edward Van Halen when the bands’ tours cross paths in the Midwest (probably Aug 5 Summer Jam I in Kansas, CC).
1978.08: Bruford and Allan fired from UK but asked to finish the US and UK tour dates first.  Their final show is in October (CC)
1978.09.04-05: “Propensity” recorded with John Stevens (d) and Danny Thompson (b)
1978.11 (CC): Allan records a demo tape (Sherwood Forest demos) with Jon Hiseman (Tempest) and Jack Bruce (Wildlife), but it is not picked up by any labels.  It is sent anonymously to various record labels but fails to generate any significant interest, bringing the project to a standstill (6, 16, CC).  A tour planned to begin in April (1979?) for the Hiseman/Bruce group never happens.
1979.01: Allan and Bill Bruford quit UK and reform as a quartet (without Annette Peacock) to record “One of a Kind” (released June 79) (13, CC).  On this record the Vox AC30 amp is used again (46).  “One of a Kind” includes “The Abingdon Chasp”, a song originally commissioned by Virgin Records and recorded (1978.11.24, CC) by Bruford, Dave Stewart, French bassist Francis Maze, and saxophonist Ray Warleigh, but here rerecorded.  Allan is pleased with the ending solo in “Five G”.
1979.03.07: Bruford plays on TV: BBC: Rock Goes to College (Annette Peacock guests).  Other Bruford dates follow in the UK.(CC)
1979.05: “Holdsworth is involved in abortive sessions for Annette Peacock's new album, alongisde the likes of Bill Bruford, Dave Stewart, Jack Bruce and Jeff Beck” (CC)

(This page will be updated as further "chapters" are posted)

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