Andreas Vollenweider is the Swiss genius who gently plucks the electroacoustic harp with such feeling and with such beautiful tones, that he manages in just a few bars to conjure up everything good about the genre of music known as New Age. Next to brilliant keys composer Kit Watkins, he ranks top of the class in this, his chosen art.
Andreas hasn’t been to the states for a very long time, much less, in his native Europe as he’s long been working on new material, for which we are waiting with great expectations. Let’s hope he returns soon.
My wife Artina and I have been “on a tear” over the last decade catching bands and individual musicians in concert wherever the appear – locally in San Francisco or Los Angeles if possible, but if the closest a favorite band plays happens to be on the east coast, New York, Boston, Philly, etc. we will make the trip. We’ve done this for U2 (360 tour), Billy Crystal (one-man show), The Cure, PFM, and many others. We were fortunate over the last three years to have multiple reasons to go to the U.K. — home of my heart as it comes to music. We saw Simple Minds do their early album cuts at the Roundhouse, Kate Bush at the Odean for one of here 22 rare comeback performances, Stone Roses in the park, and, importantly my hero Rick Wakeman performing his masterwork Six Wives at the castle of Henry VIII, and his Arthurian Legend Redux at the O2. We even saw Artina’s favorite-ever singer/saxman Van Morrison in Lugano – what a blessing. It’s been expensive, certainly a luxury, and I owe it all to my last job at Splunk. I think we’ve “done it all” so to say – not sure as we peruse the list of bands we’ve loved, that another would draw us over the pond again.
Having said that (never say never – a lesson well learned from Sean Connery) I was looking through my hundreds of concert DVDs – yes I’m THAT guy) and slipped in the concert film of Andreas this morning. It’s brilliant, heartfelt, beautiful, as with all of his work. Then I checked his website, and it appears that, at least as of September last year, he plans a new release and tour. If he does that and does not come to the states, we will travel once again. If it is to be in Switzerland, which would not raise a complaint from this fan, then maybe an evening in Interlaken, Zermatt, or Lugano? Please Mr. Vollenweider!
The other main things to report, after I took quite a break from writing:
LCD Soundsystem, the brilliant, Talking-Heads-ish electro-indie band, sold three nights at the Greek Berkeley – gotta go
Steven Wilson is back at the Fillmore in May – his concerts are second-to-none
Bananarama plays in February, as does Robert Plant – certainly two ends of the musical spectrum!?!?
Best yet, the Dixie Dregs have reunited the original lineup, and are playing all over California in April – more on that to come
Streaming media has taken over from network TV. Among the many shows we’ve binged on Netflix, one of our favorites is Black Mirror.
Each episode is a unique story, much like The Twilight Zone and others long ago. Uniquely, the Black Mirror stories are each cautionary tales about technology in our lives – the risks of misuse, loss of privacy, loss of intimacy.
One episode for example follows a mother who tracks her daughter through an implant and tablet app that allows for real-time geolocation and vitals, but also displays what her daughter sees and even blocks disturbing content from her vision. Other episodes also extend the reach of today’s technology to fictionalize uncontrollable security robots, intrusive virtual dating apps and other scenarios that focus generally on the dark side of ‘future’ technology adoption by consumers. In nearly every episode, the focus is on consumer devices, phones, pads, sensors, and the use of massive amounts of machine data spewing from these devices, shown for either better or usually detrimental impacts on the individual.
In reality, even with the technology – devices, software, analytics and machine learning we have today, we face these ethical dilemmas. My kids, both millenials, give their data freely, and expect to gain advantages from its mining. And having worked at Splunk, understanding the potential of ‘big data” analytics and artificial intelligence, I am of like mind. Sharing freely with attendant benefits outweighs security concerns – the exception being behaviors which can directly lead to identity theft.
A recent news show featured a British security expert explaining what data we are all sharing via Fitbit and similar devices, how our whereabouts and travels could be shown on a heat map, what implications that has for military personnel, etc. Yet the benefits of using a Fitbit and openly sharing geolocation and your vitals is well established. Another positive example of using analytics and AI to mine data for its potential was highlighted in a show about Chicago police, social workers, and clergy who have teamed together to mine data collected on potential felons in order to predict criminal behavior by these individuals (yes, without the imprisoned beings depicted in Minority Report!). Once they have a list of high risk subjects, a member of the police squad, a social worker, clergy, etc. actually visit the subject at home and try to convince them to enter into counselling, job training, and other programs. It’s not even at a 50% acceptance rate, but every point on that graph matters, and lives are saved. These points offer some light to go with what is often assumed to be a darker path via big data. And the implications for running a better business, endless!
And, finally, I always know what musicians are coming, via bandsintown, where they know what I like 🙂
As part of its 50th anniversary year, Rolling Stone magazine’s May 4th “special issue” included a lengthy article on The 50 Greatest Concerts of the Last 50 Years. I’ve been avoiding some of the “top N” lists that constantly flood social media, being so many are seemingly dreamed up by guys in their basement fishing for “click bait,” and some deemed dangerous to our privacy. But this article from the venerable rock magazine is entertaining and informative, well worth seeking out.
Over the years I’ve disagreed many times with critic’s music choices in Rolling Stone; they are so often focused on artists from the 1960’s and so frequently biased towards more commercial acts, weighted towards those hailing from the U.S. But the coverage is in depth, and the political analysis suits my beliefs nicely. I’ve been a long time subscriber.
The list of top 50 concerts in part drew my attention as I’ve recently released a book on the greatest concerts of the 70s entitled Rockin’ the City of Angels which features 36 acts from that decade, nearly all of whom played in my home town of Los Angeles, California. Was curious to see where our lists would match, and where they would diverge, and if that would be predictable for Rolling Stone. Due to the article covering 5 decades, there were 18 shows specifically from the 70s to consider.
Not surprising RS focused primarily on the type of bands that have nearly always appealed to their writing staff, six of which, in bold, matched mine, including:
The Who (Leeds, February 14, 1970) Neil Young and Crazy Horse (Fillmore East March, 1970) Elton John (Troubador, August 25-30, 1970) Aretha Franklin (Fillmore West, March 5-7, 1971)
B.B. King (Cook County Jail, September 10, 1970)
The Allman Brothers (Fillmore East, March 11-13, 1971)
The Band (December 28-31, 1971) The Rolling Stones (North America Tour, 1972) David Bowie (World Tour 1972-73) Van Morrison (North American Tour, 1973)
Patti Smith Group & Television (CBGB 1975)
Bob Marley (The Lyceum Theater, July 17-18, 1975)
Bob Dylan (Rolling Thunder Review, 1975-76)
Grateful Dead (North American Tour, 1977)
The Ramones (European Tour, 1977) The Eagles (U.S. Tour 1977-1978) The Clash (North American Tour, 1979) Pink Floyd (The Wall Tour, 1980-81)
A 30% hit rate wasn’t a complete miss! In fact, as my own selection filtered out American R&B and the burgeoning punk movement (saved for future books), I match on about half of these artists. In addition, Van Morrison and Bob Marley are both artists I would have covered had editorial considerations not limited the book’s length!
A few particulars:
The Who Live at Leeds is indeed legendary as noted in RS, and it kicks off the first chapter in my book, as the Tommy album, the now expanded Live at Leeds recordings, and the film Live at the Isle of Wight rate highly in my collection.
Elton John’s record-breaking shows at Dodger Stadium in 1975 are featured in my book, but I can absolutely back the argument that his first, intimate shows at the Troubadour launched him in the City of Angels, and make sense as the focus of the RS list.
David Bowie’s seminal concerts during his Ziggy Stardust period in 1972-73 absolutely rate highly, and the movie taken from this tour is the primary official release of this artist on film during the decade. I struggled with the choice between this tour, and the 1976 shows in support of my favorite Station to Station. While Ziggy meant everything particularly to my friends in Hollywood and downtown, back in my suburban valley, I was more attuned to Station’s lush, disco-infused wares. The performances on that tour were striking – as one writer put it, Bowie appeared as a “hollow man who sang songs of romance with an agonized intensity… ice masquerading as fire.”
Ultimately these lists are a difficult undertaking – always there are forgotten favorites, and when it comes to musical art, how does one define “greatest” – it’s largely subjective, yet occasionally we labor to piece them together and support our conclusions.
If I were pressed to make a similar list of the 18 “greatest” concerts of the 1970s, as experienced my original home town of Los Angeles, understanding that all of the other 18 I cover in Rockin’ the City of Angels rate in my book, the list below would be my conclusion:
The Who – Tommy tour Anaheim Stadium June 14, 1970
The Rolling Stones – Exile on Main Street tour L.A. Forum, 1972
Jethro Tull – A Passion Play tour L.A. Forum July 20–22, 1973
Emerson, Lake & Palmer – Brain Salad Surgery tour California Jam April 6, 1974
King Crimson – Starless and Bible Black tour – Shrine Auditorium June 19, 1974
Genesis – The Lamb Lies Down on Broadway tour Shrine Auditorium January 24, 1975
Cat Stevens – Majikat tour L.A. Forum, February 2, 1976
David Bowie – Station to Station tour L.A. Forum February 8, 9 & 11, 1976
Ambrosia – Somewhere I Never Travelled tour – Santa Monica Civic 1976
Paul McCartney & Wings – Wings Over the World tour L.A. Forum June 21, 1976
Queen – News of the World tour L.A. Forum December 22, 1977
Led Zeppelin – Presence tour L.A. Forum June 23, 1977
Yes – Relayer Tour – Anaheim Stadium – July 17, 1976
Supertramp – Even in the Quietest Moments tour L.A. Forum April 28, 1977
Heart – Little Queen tour Universal Amphitheater July 17, 1977
Kansas – Point of Know Return tour Long Beach Arena December 31, 1977
ELO – Out of the Blue tour Anaheim Stadium, August 26,1978
Fleetwood Mac – Tusk tour L.A. Forum December 4–6, 1979
Pink Floyd – The Wall tour LA Memorial Sports Arena February 7–13, 1980
Caveats – not many – I trimmed out the bands such as Happy The Man, Kate Bush and Camel who did not make it to L.A. for their greatest tours (in the case of Ms. Bush, never forever!). Also gone were some of the more progressive acts, such as Gentle Giant, Frank Zappa, PFM, U.K., Dixie Dregs, which were amazing live, but did not garner a wider audience during the period of my focus. Even with the edits, I cheated and listed 19 bands.
Given the more mainstream focus of RS, I still would have expected the staff to cover a few more bands that make my top choices, such as Yes, Queen and Jethro Tull who I personally witness delivering the most spectacular live concerts of the decade. Having said that, I’ve come to predict the view of this magazine and their favorites over the years, which to be fair has in fact grown to include artists they would have skipped in the past. The article is a fun read, full of quotes from those who were there, and it may prompt you to reflect on your past concert experiences, and maybe grab a seat at an upcoming show, to again bask in the glow of stage lights.
My wife and I were very fortunate last weekend to attend the San Francisco stop on the latest tour of Italian superstar Adelmo “Zucchero” Fornaciari. This man known simply as “Zucchero” who reportedly first picked up a guitar the year I graduated high school in 1978 somehow escaped our attention until the turn of the century, when we travelled to Sienna Italy and were surrounded by posters of his then new tour, supporting the album Shake (2001). We knew of Italian progressive rockers Premiata Forneria Marconi (PFM) and in a sort of happy coincidence were stopping in Pennsylvania on the way home from Italy to see a rare appearance by that band at a prog music festival. But we also picked up Zucchero’s decidedly not-prog record, learning that it was recorded near our home in Sausalito, then back in Italy, finally mixing and mastering at Peter Gabriel’s Real World studios. It was a certified hit for Zucchero – an album of boisterous, life-affirming music. We instantly fell in love with the man and his work. From the strength of that initial exposure we started our collection, which now includes the newest, Black Cat (2016). We more recently snatched up tickets to what ended up being a fantastico, bellissimo, heart-rending blues and soul infused evening of music last Sunday night.
What we’ve learned is what many readers may already know, and I recommend the rest of you learn, that Zucchero’s career spans more than three decades, with worldwide record sales over 60 million and an impressive collection of awards and accolades received over those years. The gospel, blues, soul and rock music influenced artist is considered to be “the father of the Italian blues.” Zucchero, meaning ‘sugar’ in Italian, is a nickname given to Adelmo by a schoolteacher when he was just a young boy growing up in Roncocesi, Italy. It’s an appropriate moniker for the musician whose work is often about love and whose presence on stage exudes joy, passion and positivity. When sampling Zucchero’s work for the first time, take the time to browse a variety of his albums/songs and notice that much of his work is akin to listening to many of those he has collaborated with over the years (Eric Clapton, Jeff Beck, Stevie Ray Vaughan, B.B. King, Peter Gabriel and so many more), while drawing strongly from his native Italian roots.
Black Cat is a return to the artist’s much beloved blues & soul style work, and as such is being compared to his fourth studio album, oro incenso e mirra (“gold, incense & beer) in 1990. We read that the latest album was inspired while touring the southern U.S. and that Zucchero wrote the songs much as he did in the early days of his career, when things were more simple and he didn’t have as much to lose and didn’t care about the logic of the market. The album features among others the song S.O.S. (Streets of Surrender) penned by long time friend, Bono of U2. The song, born on the wave of terrorist attacks in Paris last November is a hymn against such hatred and violence.
Zucchero’s March 19th, 2017 show at the San Francisco Palace of the Fine Arts not only joyfully delivered most of the tracks off of Black Cat, but with more than 30 tracks on the set list, it also included so many of his audience’s favorite songs spanning the past few decades, from the sexy BailaMorena (Shake 2001 – Spanish Version), to the passionate duet with Pavarotti Miserere (Miserere 1992), the soulfully beautiful Bacco Perbacco (Fly 2006), Un Soffio Caldo (Chocobeck 2012 – track titled Life on English version) and so many more. The band, which included exceptional musicians on violin, keyboards, slide guitar/guitar, bass, and drums, was top of class. Special guest Corrado Rustici, who worked on Shake, joined them on guitar for one track. The backdrop was, appropriately a framed heart, which was set off by moody low lighting, approaching brighter tones only when raising the house lights that illuminated the cheering crowd of both faithful followers and the newly informed.
Though Zucchero occasionally sings in English, it’s when you listen to his sultry, whisky voice singing passionately in his native Italian tongue or occasional Spanish that you truly ‘feel’ his work. This is what we felt Sunday night, as the artist focused much less on any pop trappings, and absolutely more so his sultry, bluesy, and heartfelt work delivered in the more romantic languages. During one of only a couple breaks between songs, after apologizing the his English was “not so good,” Zucchero explained that he grew up listing to the music of many English artists, finding that even though he had no clue what they were saying, the “music spoke” to him, adding:
Music talk. You don’t have to understand everything. It’s the vibe, the feeling…
That we understood completely, as it was our experience that night, not knowing Italian beyond a few key words like Amore. Didn’t matter in the least, in fact it made the evening a unique and special experience. It certainly helped that Italian Americans and travelers at the show enthusiastically poured their affections out verbally and visibly all around us, helping to highlight what is so meaningful about Zucchero’s songs and lyrics. Catch this legendary artist in concert if you possibly can. Your heart will thank you.
Roger King, the multi-talented musician and engineer has, among other projects been working with Steve Hackett now for more than 20 years. King had the enviable task of joining Hackett and a number of select peers to reinterpret Genesis songs originally composed and recorded between 1971 and 1977. These were released as two collections since the time he’s been on board. This King did while also recording and performing compelling new material with Hackett and his band, taking all this out on the road. For any fan of Genesis, the fact that the band’s 70’s era guitarist has been dusting off these vaulted classics and presenting them live is continuing cause for celebration. At this point, just about every worthy track Hackett graced during his time with Genesis has been resurrected on record and/or in concert. Through it all, the enduring guitarist’s own band has become a finely honed outfit, and the live shows have been absolutely fantastic – I was privileged to see the complete set at the Royal Albert Hall, and have attended several gigs since, including last year’s mix of Genesis and solo classics –Alcolyte to Wolflight. Roger King was a fixture of these shows throughout, a key component of the band and it’s unique sound.
Keyboard player Andrew Colyer (Circuline) and I had the chance to sit down and have a short talk with King on the recent Cruise to the Edge festival while on calm seas in the Gulf of Mexico. King began a musical journey in his youth as church organist, studying piano from an early age, then gaining a degree in music and sound engineering at University of Surrey in the UK. We started by asking about his early work as sound engineer and player, and how he became part of Steve Hackett’s band:
I recorded a lot of demos for Island records in the UK and did a lot of film work – some with Trevor Jones – maybe 5 or 6 years working on some fairly high profile movies as a keyboard-playing sound engineer. I did a lot of work on house mixes – 126bpm stomping remixes for the London club scene, which you can see as unlikely and it was but you fall into these things don’t you? It’s as a jobbing engineer.
I had a manager at that time who did a mail shot to potential employers as I lived in Twickenham in greater London. She happened upon a management company there who by chance was Steve’s then manager so I landed on their map as a local engineer and they just happened to be looking for someone so I got the call – this was back in 1995. I knew about Steve and Genesis, and had seen Steve in Guildford in Surrey when I was at University. Peter Gabriel and Mike Rutherford turned up so it was a nice gig to have seen!
As anyone who has seen the band live or collected the DVDs or recordings knows, the music of Genesis is given new life on these outings. As had been the case back when these songs were first played live, the music comes alive in concert. There is precision to the performances, along with some room for interpretation. It’s a beautiful near-contradiction – an updated sound that still hones closely to the spirit and letter of the original works – a pleasure for fans and newcomers alike. The accomplished band now includes Gary O’Toole (drums, percussion and vocals), Rob Townsend (winds, percussion), Nick Beggs (bass and paraphernalia), Nad Sylvan (vocals), and Roger King (keyboards).
Roger’s performance is a critical part of making the original Genesis material sound so amazing 40-plus years after it was originally created. Given Tony Banks was such a precise player with such an identifiable sound, one who stayed close to recorded originals, we asked Roger about preparing to play these Genesis classics live. How does he find the right sounds to deploy when preparing for the recordings and tours – how balance vintage and modern technology?
It was quite a bit of work. Tony wasn’t particularly a technophile; he used what was in front of him. Yet you hear things he created such as the enormous strings sound on “The Fountain of Salmacis,” that I could never get anywhere near. He had and has a strong sensibility for sound – a powerful sonic signature to follow. And it’s a lot of work to try and get somewhere near it because those instruments – the Hammond, the Pro Soloist, and Mellotron themselves have such strong sonic signatures and characters.
I used an analog synth plug in – the U-He Diva that I’m really fond of in addition to their semi modular synth Ace which enables you to do some of the things – it’s the character I want really, rather than being as accurate to the original as possible. I’m not a nostalgia freak; it’s the character of the sounds that brings the original live in my memory. For example, we’re doing “One for the Vine” on this tour. It’s interesting to listen to the album version and live version, and see that live in 1977 most of the song is missing from the keyboard perspective because you couldn’t do it then, and yet we can to a greater extent cover the arrangements today. It’s a lovely song to play; it’s a terrific composition.
This seemed the moment to gush a bit about the quality of the performances and the audience response to these shows. The Genesis Revisited and Wolflight to Acolyte concerts were very special, and we asked Roger if he has a sense of how well they have been coming off – if he’s noticed the reaction to standout moments such as the coda to “Shadow of the Hierophant.” He is typically humble:
We’ve grown as a band, blessed with some top of class musicians. When you’re playing, using in-ear monitors, to a certain extent you’re divorced from what the audience is getting for the sake of clarity and saving your hearing and all the rest of it, but yeah I listen back to the live stuff occasionally and think “that’s okay yeah” (smiles) and there are bits of things we play where I was thinking when we first approached it, like some of the Wolflight material, well how are we going to do this live, it’s going to be a stripped back thing. Now I kind of prefer the live performances in a way, there is a bit more vitality.
I have to say we are blessed with a world class front house engineer and the other technical guys – they are unbelievably good so they should take a lot of the credit – they’re really part of the band. We do need and have a front house engineer Ben Fenner who also acts as a kind of producer so he’s able to say to me or anyone else on stage – “that sound you make there, can we change it, or can you change the balance of your keyboards or what about playing a C there instead of a D” because he gets the big picture and we don’t – you have to have somebody you can trust who can guide you in these things as well – we’re hugely fortunate.
The coda to “Shadow…” is something we almost always play – it’s a simple piece of music but because it’s so loud and gets bigger and bigger so it does go down well. Steve enjoys playing it, just to make a din really, and give Gary a chance to let himself go – it’s almost, no exactly, like a drum solo!
One of the follow up discussion points is about the emotional connection to this music. Roger shares that he is able to keep from the distraction of being emotionally overwhelmed by the swelling strings and quiet sentimental parts he’s playing – noting that while in the chair there is real focus. Plus, to really get at his core, he has to spin some original classical music. What’s his favorite music and how does he bring that to bear working with Steve and also with Nick Beggs in The Mute Gods? What’s coming up on both of these fronts?
My favorite is Twentieth Century orchestral music. Once upon a time playing the organ meant that Bach became central to my record collection. I really like Stravinski, Messian, Lutoslowski – all these huge orchestral works. Sometimes I get to visit the classics – for instance the new Mute Gods album is out now Tardigrades Will Inherit The Earth. Nick said “I’d like to start it off with a funeral march, do you fancy writing a funeral march?” Funny way to start an album, we’ll just get all the death stuff over with! And it is a pretty doom-laden album as it happens. I thought, fantastic I can write something like a bit of Lutoslawski! There is a terrific piece of music, one of my favorite pieces by that composer called “Funereal Music” and I wanted to write something like that. It was great fun to get the orchestral chops polished a little bit.
When I work with Steve, the basic structure of the songwriting is established as he comes up with the tunes. He might say to me “these are the chords, and I’ve got the tune, but Id like these bars to be orchestral.” So I roll up my sleeves and have a go at it. Parts of it work naturally live; others are a bit of work. At the end of recording, you’re presented with hundreds of tracks from the studio with layer upon layer of sound, and you look to make it work in concert as one keyboard player!
The next Steve Hackett album The Night Siren is just coming out in March. Best to ask Steve about it, but I would say it’s a natural follow on from Wolflight – maybe Son of Wolflight! It has many of the same characteristics in the songwriting and production. In many ways we’ve built on that, and included some international musicians. We are already playing some of it (on the cruise) and are looking forward to taking it out on the tour.
Given all that Roger is bringing to these projects for Steve Hackett and The Mute Gods, the natural question is, will we be hearing any Roger King solo material?
Nick is already talking about a third Mute Gods album, on an almost daily basis! And I know Steve will be saying he’s got some new things. My wife is encouraging me to do it – I’ve got people I can work with who are terrific, who are offering to make contributions, now its just a matter of time and energy, but expect it one day!
Let’s hope for that day to come. In the mean time, catch Roger during the next leg of Steve Hackett’s Night Siren tour, booked thus far in Europe and the U.K. from March to May, and watch for any gigs by The Mute Gods.
Camel is one of the greatest 1970’s era progressive rock bands on record, sitting comfortably next to Yes, Genesis, Pink Floyd and other classics in the genre. Yet this amazing, enduring band garners less name recognition than their stature demands. Led by Andrew Latimer (guitar, flute, vocals, later keyboards) and initially with his partner, the late Peter Bardens (keyboards) joining Doug Ferguson (bass) and Andy Ward (drums), the band navigates rock and jazz motifs, prog / space rock, and English folk for the greater whole. Camel just released a concert DVD taken from a fantastic performance last year in Japan, thoughtfully titled ichigo ichie (Treasure every encounter, for it will never recur). The film as produced by Susan Hoover, filmed and Directed by David Minasian is exceptionally crafted. It captures a four-piece lineup delivering a set list of classics from their long catalog, highlighting one of their most popular original albums Moonmadness (1976). The staging and lighting is simple; the whole production is tightly focused on the band and their playing, with ample close ups of keys, frets and toms. It will be a treasure for long time fans and newcomers alike who want to see these musicians up close, in a crisp audio and video production.
Camel is ripe for rediscovery by those who missed out on this band to date. For one thing, their work remains consistently enjoyable, less jagged than their more metal-oriented followers, more listenable. Much of Camel’s work is actually quite sunny – often heartwarming – while Latimer’s evocative guitar style might be compared to David Gilmore of Pink Floyd fame, there is less gloom in their work, more major than minor tonality. Part of this influence was Peter Bardens, whose keys and compositions graced the first six records from 1972’s self-titled debut Camel, through 1978’s Breathless. He left the band and went on to success as a solo “new age” music artist before his untimely passing in 2002. Other group members playing bass, keys, and drums have changed over multiple times, with the most persistent member being Colin Bass, an amazing bass player who also offers rich vocals to many tracks since 1979. Powerhouse drummer Denis Clement joined in 2000 and has punctuated albums and stage shows since. The most persistently rotating seat in the Camel lineup has been at the keyboards. After Bardens, a series of exceptionally strong keys men have played on albums and/or concert tours, among them Jan Schelhaas, Kit Watkins, Dave Sinclair, Chris Rainbow, Mickey Simmonds, Guy LeBlanc, Ton Scherpenzeel, and for their most recent show, captured on the new DVD, Pete Jones.
Pete Jones is fascinating to behold throughout the concert. Though rendered sightless before age 2, he’s built a career as a composer and multi-instrumentalist, and released a very well regarded album under the moniker Tiger Moth Tales. His warm expressive vocals grace that solo work, and were put to excellent use with Camel. Jones sings on opener “Never Let Go,” then later “Air Born” and “Long Goodbyes.” The tenor of his voice, the lilt – it was like he was born to take these songs out live with the band. His keyboards throughout, and recorder solo on “Preparation” are sublime.
Again the set list includes a handful of tracks from Moonmadness, while touching on most of Camel’s other core records. It’s fairly common for Latimer and crew to say little between songs – to let the music and a bit of lighting speak for itself. True here again, as Latimer’s first interaction is, “How wonderful to be back in Tokyo after 16 years!” followed during the show with very brief introductions to the songs, and the naming of band members. As the show is in Japan, brevity seems appropriate, and as intended the music and fairly limited lighting effects set the stage. This affords an uninterrupted, bird’s eye view for the cameramen to put us right on stage, up close, most appropriate for any aspiring musician who may want to see just how those colorful notes are magically drawn by each musicians. Of the set, the band really stretches out on “Hopeless Anger” with a searing guitar solo from Andrew, dramatic deep toms from Clement and Jones giving his best. Sentimental ballad “Long Goodbyes” was dedicated by Latimer to two “dear friends” Chris Rainbow and Guy LeBlanc – who are on longer with us.
Camel has been Latimer’s primary occupation, being the one remaining original member, composer and driving force and after a period of inactivity from 2003-2013 due to illness, he and the band have been back on the road for short tours several times over the last few years. Time has not diminished their skills, and we have in Camel an important and enduring ensemble of immense talent. The journey continues – check out this DVD to see how impressive and worthy their travels have been – here’s hoping they embark again.
Ichigo ichie: Treasure every encounter, for it will never recur
Camel Live in Japan 2016
Andrew Latimer – guitar, vocals, flute and recorder
Colin Bass – bass guitar, vocals
Denis Clement – Drums, recorder
Peter Jones – keys, vocals, penny whistle
Filmed and directed by David Minasian
Assistant Director Trinity Houston
Recoded live at the Ex Theater Roppongi Toyko, Japan
Lighting design by Del Jones
Fresh air, exceptional, challenging music, calm seas, good fellowship: this year’s floating concert spectacle, Cruise to the Edge 2017 was undeniably one of the best yet. It’s the forth time progressive rock heroes Yes have sponsored this particular festival and it was smooth sailing in almost every respect. This time we were afloat on the Brilliance of the Seas, a Royal Caribbean cruise liner which experienced travellers said was above average though not the best craft in the league. Made little difference – the real attraction of these trips is the exciting lineup of progressive rock bands new and old, fresh or reconstituted, and this year’s collection of artists ensured there was something for every fan.
Yes has been joined in the past by their 1970s contemporaries Marillion, Steve Hackett, Carl Palmer, PFM, Three Friends (Gentle Giant), Tangerine Dream, UK, Caravan, and Martin Barre (Jethro Tull), along with newer prog acts Anathema, Enchant, Moon Safari, Lifesigns and many others. Each festival has had something to offer, and has been successful despite each running into a storm during the voyage!
This year’s lineup included returning mainstays and new acts: Yes, Steve Hackett, Kansas, Mike Portnoy, The Neal Morse Band, Spock’s Beard, Stickmen, Haken, IO Earth, Patrick Moraz, Bad Dreams, District 97, Anglagard, Curved Air, Frost, Electric Asturias, Focus, The Fringe, Dave Kerezner, Pain of Salvation, and Scott Henderson. An excellent lineup made even better with a special appearance by Dixie Dregs/Kansas/Deep Purple axe-man Steve Morse who surprised the crowd on opening day with a great but short set from Flying Colors, staged during Mike Portnoy’s 50th birthday bash.
Missing this year but certainly not forgotten was prog legend John Wetton, who passed away just before the cruise was to depart, a very short time after announcing he would not be able to make the event. John Lodge from The Moody Blues stepped in after the unfortunate announcement. There was a moment of silence for John at the opening event, and a number of tributes to him by the other artists on the cruise – possibly the most touching when Steve Hackett dedicated the Genesis mainstay “Afterglow” to our fallen friend. We miss you more …as well.
Once again Jon Kirkman was our eloquent master of ceremonies. Jon is so deeply studied in the prog arts and music in general that his many interviews with band members during the course of the cruise are a always a highlight. Jon’s new book, Yes Dialogue (@TimeAndAWordTheYesInterviews) is hitting stores now. We had the brief chance to take a look at this excellent book, which sports numerous never-before-seen photos and lots of inside information on this enduring band.
Roger Dean was in attendance again this year, with Michael and the team at Trading Boundaries at his gallery top deck. This was another chance for cruisers to obtain one of Roger’s stunning prints, from the Yes and Virgin Records logos, to the cover of Gentle Giant’s Octopus (UK), or the magnificent cover for Yes Tales From Topographic Oceans. Roger kindly displayed a copy of my new book Rockin’ the City of Angelsat his front desk with postcard ads as this tome contains licensed shots of the Yes Relayer tour taken by Martyn Dean in addition to a couple of Roger’s legendary album cover images. https://www.amazon.com/Rockin-City-Angels-Douglas-Harr/dp/0997771100/
One of the fantastic features of this cruise is the Late Night Live sessions. As the name implies live music fills the wee hours from about midnight into the early morning. Organized by broadcaster Rob Rutz and a team of dedicated proggers, this event gives attendees who can play or sing a chance to take the stage and perform with other fans, sometimes with one of the professional musicians who come to cheer them on and lend an occasional hand. This afforded us a chance to see and hear Jon Davison (Yes), Nad Sylvan (Steve Hackett) members of Circuline and others perform side by side with many talented fans, as they work together often for the first time, through long set lists that cover tracks from our prog favorites old and new.
As mentioned, there was something for fans of nearly every style of progressive rock music from the big acts to the newer lot. As usually there isn’t time to get to all of the bands. Here are some snaps from the top acts I was able to see:
Yes: Continued their album-pair set that included the hard-driving Drama record and two sides of masterwork Tales From Topographic Oceans. Jay Shellen was there to assist Alan White on drums, and Billy Sherwood was absolutely on fire, visibly happy, relaxed and just nailing bass parts that were absolutely reminiscent of Chris Squire yet still colored by his own unique palette. I could have watched the whole show again just to see and hear Sherwood at that level of excellence. It had to be part of what drove the whole band, including guitarist Steve Howe to perform at the top of their game. That Drama was featured surely inspired keyboard wizard Geoff Downes who was a part of that era’s lineup. Jon Davison also mentioned in interview that it was liberating for him to do some vocals not originally recorded by founder Jon Anderson as this allowed for some stretching out, on material that is more strident and modern (added Howe and White).
Steve Hackett: played a few stellar new tracks, along with a set list that included several from Genesis masterwork Wind and Wuthering, now 40 years on. These songs included “Eleventh Earl of Mar,” “One for the Vine,” and EP B-side “Inside and Out” along with the oft-played suite that ends the album. During that coda, Hackett dedicated “Afterglow” to fallen friend John Wetton leaving not many a dry eye in the house. Hackett and his band continue to stage innovative progressive rock concerts that are second to none.
Kansas took the stage for a pair of first time CTTE performances, receiving many standing ovations from the audience. With the addition of Ronnie Platt on vocals and keys, and additional expert musicians, the band is able to present new and old Kansas music with the level of instrumental and vocal prowess once championed by retired founders Kerry Livgren and Steve Walsh, albeit without the handstands!
Mike Portnoy celebrated his 50th birthday, and for his fans and admirers this was a key event on the cruise. Of the various bands he’s been in, my top vote goes to Flying Colors and they were the toast of the launch.
Haken: They get the award for continuous improvement. I’ve seen them over the years and each time their performances just get tighter, both instrumentally and vocally, fronting compositions that increasingly achieve balance between light and dark for a melodic and powerful form of prog.
Anglagard: Similarly this exceptional Swedish band continues to amaze as they endure. Their first performance was cut short by late night rain, but the full set the next day found them astutely blending electric and acoustic piano/sax/flute against electric frets for a compelling strain of prog, most reminiscent of the 70s era while still sounding new and all their own.
IO Earth: beautiful compositions and performance that blended middle eastern motifs with rock instrumentation.
Focus: They sounded better than any time I’ve seen them – great sound and performance by this Dutch band, fronted by the always entertaining, Thijs van Leer.
Curved Air: Legendary British band fronted by long time inspiring vocalist Sonia Kristina closed the cruise with the final set late Friday night.
Electric Asturias: Exceptional blend of jazz-fusion and prog forms hailing from Japan.
Stickmen: Masters of dissonance Tony Levin/Pat Mastelotto/Markus Reuter were fantastic as always.
Patrick Moraz: legendary keyboardist on his own at the piano…. Magnifique!
District 97: Highly talented band, brilliant set.
Neal Morse and Spock’s Beard were crowd favorites I ended up missing, but everyone I talked to who saw them, John Lodge, Bad Dreams, Alex Machacek, Frost, The Fringe, Dave Kerzner and Pain of Salvation loved those sets.
Back on dry land this week …vive le rock (y tambien, terra firma)!