Tag Archives: anglagard

Cruising the Progressive Seas

ctte2017_slide_fish_lodgeFresh 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.

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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!

ctte2017_flyingcolorssm_144dpiThis 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.

 

wettonjohn2017_withuk_72dpiMissing 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.

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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 Angels at 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/

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Roger Dean’s Gallery

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.

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Late Night Live: Yes “Heart of the Sunrise” Andrew Colyer (keys), Darin Brannon (drums), Rose Danese (vocals) Joel Simches (bass) Tom Maltose (guitar)

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).

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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.

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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!

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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.

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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.

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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.

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IO Earth: beautiful compositions and performance that blended middle eastern motifs with rock instrumentation.

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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.

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Curved Air: Legendary British band fronted by long time inspiring vocalist Sonia Kristina closed the cruise with the final set late Friday night.

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Electric Asturias: Exceptional blend of jazz-fusion and prog forms hailing from Japan.

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Stickmen: Masters of dissonance Tony Levin/Pat Mastelotto/Markus Reuter were fantastic as always.

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Patrick Moraz: legendary keyboardist on his own at the piano…. Magnifique!

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District 97: Highly talented band, brilliant set.

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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)!

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goodnight proggers…

Best Concerts of 2015

BestOf2015_Buddies2Once again my wife Artina and I had a wonderful year of travel and concerts, stoking our love of music and performance. It was another year that saw many acts from the 1970’s and 80’s coming back to town, along with several new bands we’ve followed over the last 25 years. Here is a list of the eleven best shows (one more than 10!) more or less ordered from best to less best, from where we sat:

Steven Wilson, San Francisco & London

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We were privileged to catch Steven on his Hand.Cannot.Erase. tour stop at the Warfield theater in San Francisco, and then again one the second night of his London show at the Royal Albert Hall. Both were spectacular, but the London show was special as Ninet Tayeb was on hand to sing a devastating, beautiful lead vocal for “Routine” and Wilson performed many Porcupine Tree classics including a song I’ve happily not been able to get out of my head “She’smovedon.” Wilson and his concert production team are adept at staging his work live, setting the mood with long dissonant ambient sounds, muted lighting and surrealistic imagery projected on a stunning high definition screen. As with earlier shows in the tour, the lighting techniques were clever and colorful. Sound was crisp and clear, reproduced by the top-notch audio system, which sounded amazing in the acoustic-friendly Royal Albert Hall. Even with all the finery, the primary focus remained on the band members and guest musicians demonstrating their virtuosic skills throughout.

Änglagård, Cruise To The Edge

Anglagard_BandSax_72dpiNot my wife’s favorite, as they can be very angular, but I’m working on her! I find this band from Sweden to be on the forefront of modern progressive rock. Taking cues from King Crimson, and European peers Shylock, SFF, and Ragnarok, this band manages to hit both beautiful and melancholy sounds in perfect harmony, calling in mind things like “Lark’s Tongues in Aspic” while being completely original. Their two sets on the cruise were a rare treat given their infrequent tours. Änglagård incorporated flute and acoustic instruments, putting Anna Holmgren (flute, saxophone, Mellotron, recorder, melodica) at center stage, Tord Lindman on guitar and occasional vocals, and the rest of the talented band all anchored by Johan Brand’s confident leads on Rickenbacker bass. Their live performances are more fluid and accessible than on record, as is true of the best bands.

Martin Barre, Cruise To The Edge
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This long time Jethro Tull guitarist led his crack band of blues-rockers through a roots-oriented show, focusing on new songs from his latest solo album, the excellent return to form Back To Steel. A follow-up morning gig featured more Tull classics including a very condensed version of a Tull epic they called “Thin As A Brick” after which Martin expressed the desire to carry on indefinitely, threatening to play the 1973 opus A Passion Play backwards! On the new album and in concert, vocalist and second guitarist Dan Crisp shines, bringing his own style to the new tracks, and the older Tull songs. Clearly, all members of the band, which included skilled drummer George Lindsay and veteran bassist Alan Thomson were in fine form. Martin looked happy and relaxed, joking that it was the first gig they played on coffee, and announcing, “Thank you for choosing us over porridge…were going to be the best breakfast you ever had!” Truer words…

Gryphon Fly Again

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Gryphon recorded 5 albums from 1971-1977, each with a slightly different contemporary take on traditional English folk music including medieval and Renaissance era sounds, and original compositions, which blended instruments like bassoon, crumhorn, recorders and mandolin, with modern electric bass, guitar, and keyboards. We had the rare opportunity to see their reunion show earlier this year, which was a consistent display of virtuosity from each of the skilled multi-instrumentalists. Drummer Dave Oberle and Brian Gulland occasionally sang in rich bass and baritone voices undiminished by their long absence from the stage. Dave’s work on drums and percussion, along with bass player Jon Davie anchored the songs with rumbling toms, and a thick and varied bottom end. Guitarist Graeme Taylor spent the evening seated with his acoustic guitar front and center, adding shimmering rhythms and leads to the music. Relative newcomer Graham Preskett filled in on all sorts of instruments including the only electronic keyboard, along with guitar, violin and winds. Founder Richard Harvey and Brian led with solo and dueling winds and traditional keyboards, each thrilling the audience with their display of talent. Richard’s lightening fast leads on recorders bring honor to a sometimes-maligned instrument. Brian’s skill on the bassoon is a fun listen – certainly something you won’t often hear elsewhere. And, you haven’t seen anything in progressive folk/rock until you witness two expert crumhorn players duel with rapid-fire counterpoint!

Camel’s Long Journey, Rambin’ Man Festival

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Founding guitarist Andrew Latimer’s shows a rare restraint, like contemporaries Eric Clapton and David Gilmour, wringing powerful emotion from every note, never crowding the measure. On top of this, he sings and plays flute, and these skills were all on display at the summer festival. He traded leads and harmonies with Colin Bass (who makes everything he does look easy, paired with Denis on drums) and shared solos with keyboard wizard Ton, who was in great form. Although this was a great show, the band was rushed offstage, seeming to be surprised at the shorter time they were allotted. Prior nights on this brief tour included a three track set from Dust and Dreams (1991) a keyboard instrumental, and “Long Goodbyes” from Stationary Traveller, (1984), one of our favorites, none of which they were able to play. The rush seemed unnecessary; the stage time allotted to the comparatively pedestrian Scorpions would have fit Camel’s entire set list. It was not an arrangement befitting one of Britain’s most talented musical outfits. Nonetheless Camel packed a punch during their truncated 80 minute set and made the trip to England special for us.

Alan Parsons at Club Nokia

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Alan Parsons and his supremely talented band played the Nokia Club in Los Angeles, performing in town for the first time in 6 years on June 11, 2015. The group was at the absolute top of their game, driving through a set list that included many of their hits recorded over the years as The Alan Parsons Project, and in particular highlighting one of their most popular albums, The Turn Of A Friendly Card (1980). Parsons and his musicians were all in a great spirit, reproducing the sound of the studio records with pinpoint accuracy but also with some improvisation, and room to demonstrate virtuosity. The band on this night were: Alastair Greene (guitar), Dan Tracey (guitar), Guy Erez (bass), Danny Thompson (drums), Tom Brooks (keyboards), Todd Cooper (lead vocals, saxophone, cowbell J), and long time vocalist P.J. Olsson who just nails the delicate, emotive vocals of songs like “Time” and “Old and Wise” –truly wonderful.

Robert Plant’s Still Got It!

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Robert Plant totally rocked the BottleRock festival in Napa California on May 30, 2015. We brought a dozen friends along for our birthday weekend, and went in with mixed expectations – knowing he would do some of his own material and of course some Led Zeppelin classics and generally just hoping to see this rock n’ roll legend perform at his best. From the start we were actually a bit shocked at how incredible the show was. Robert opened with “The Wanton Song” an old Zeppelin classic, performed pretty much as originally recorded. What followed was a mix of his solo work, covers, and Zeppelin songs, including “Black Dog”, “The Lemon Song”, “What Is and What Should Never Be” and others. During Robert’s rendition of “Going To California” a 20 something woman behind me started to cry and I realized what an impact Zeppelin’s music and Robert’s vocal prowess have meant to generations.

Dungen’s Groove

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Swedish band Dungen’s sound has softened a bit over the years since the debut in 2001. Since it’s music that’s hard to describe, it’s best to listen to a few tracks. Check out this video for “Akt Dit” which sports an intro and melody reminiscent of French duo Air. Or for an earlier more challenging psychedelic track try “Högdalstoppen” from the album Skit I Allt (2010). While the majority of songs are more pastoral and melodic, each show has at least one long instrumental “freak out” such as “Högdalstoppen.” Best to salve the dissonance with a typical follow up track such as “Satt Att Se” which sports a nice animated video. As if to confirm the difficulty one has describing their sound, front man Gustav Ejstes explains on their website that the 2010 album Skit I Allt “is about a certain feeling: you’re with your friends and mates, all hanging out till 6 in the morning. You’re the last one left at the party and you call this person that you want to be with. They’re asleep, but they still say, ‘Ah, fuck it, come over.’ It’s that feeling.”

Kansas Carry On…. In Valencia, California

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Kansas is now touring again, populated with the two original members Ehart and Williams and new members that have joined over many years. Original member Dave Hope (bass) left in 1983 and Billy Greer has played bass with the band since then. Robby Steinhardt (violin, vocals) retired almost 10 years ago in 2006 and David Ragsdale has been their violin player since that time, with Greer covering Steinhart’s vocal parts. Principal composer Kerry Livgren (guitars, keys) was in and out of the band until his final departure in 2000, and since then both Williams and Ragsdale cover his guitar parts. After Walsh’s retirement last year, the remaining players hired Ronnie Platt primarily to cover his vocal parts, along with some keys, and David Manion to supply primary keyboard parts and add some background vocals. The good news is, as seen carrying on this year, Kansas is definitely back and ready to roll.

Ty Segall’s Glam and Grind

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Ty Segall is a 27 year old indie rock wunderkind from San Francisco. Ty has released eight studio albums, beginning with 2008’s Ty Segall and continuing thru to 2014’s rocker Manipulator, building a solid fan base over these last seven years. In addition, he has released more than two-dozen singles and EP’s and played on as many albums by other indie bands. We caught up with him at the Great American Music Hall last January. From the first note it was clear that Ty’s punk roots remain strong. Hard core fans populated a mosh pit up front, slowing to rapt attention only during some of the new numbers, and building to a fever on the rest. The performance was energetic and unrelenting, as Ty, dressed in workman’s jump suit attacked both guitar and vocal leads with aplomb, recalling an early, angular Pete Townsend, though channeling less anger, more excitement (he is from California after all).

Blancmange Semi-Detached

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Blancmange recently completed a two-night live stint at The Red Gallery in London. We were fortunate to be over from San Francisco, to catch the first of these on Friday May 15, 2015. Blancmange last made it to my city by the bay way back in the early 1980’s when I felt similarly fortunate to catch a show at the Old Waldorf. There we witnessed Neil Arthur (vocals, haircut, quirky moves), Stephen Luscombe (keyboards) and David Rhodes (guitar, rhythm) play along with a reel to reel tape, backup singers, and a harried drummer who had occasional trouble keeping up with the pace of Stephen’s drum machine. It was a fantastic show – one of my favorite memories of 80’s era “new wave” concerts we attended in and around San Francisco. Blancmange is now primarily the vehicle for singer Neil Arthur and his current day electronic music. Founding partner Stephen Luscombe is said to be ill, unable to join on this album and live shows that follow. For the concert, long time guitarist and collaborator David Rhodes, was present once again. It was a fun show from these talented artists.

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David Gilmour, Heart, Of Montreal, Yes, Marillion, Three Friends, PFM, Moon Safari, Haken, Steeleye Span, Robin Trower, U.K., Mew, Billy Idol, Paula Frazier, Tempest, Midge Ur, Magma, Blue Oyster Cult, Simon Phillips and David Pack were all excellent as well – we feel blessed to have seen more than three dozen incredible artists perform in concert this year.

Honorable mention must go to Madonna, who brought her stage extravaganza to the bay area this year. Her shows are akin to Las Vegas productions, much like veteran diva Cher, complete with hi-def video, large band, dancers, and lots of props and production value. It was a fantastic show – the only pop oriented band of the year, owing to the fact that I am buried in 1970’s history at the moment, finishing a book on that era’s defining rock concerts. From here forward, we have a definite plan to put away the AARP card, and get out to hear more new bands. We are already set to include Beach House, Ra Ra Riot, Muse, and many more.

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I’m also happy to be learning more about how to take concert photos at these shows. Artina does some, and has a great eye, and I’m trying to catch up. Last several shows I’m using the “bridge camera” Lumix FZ-1000 and liking the results. Given I’ve been fortunate to meet some of the greatest photographers of the rock era this year, it’s been an inspiration!  Happy New Year to you and yours….. Doug

Änglagård at Sea

CTTE_Poster_72dpiLast month we attended the third annual progressive rock festival, Cruise To The Edge. Of the many performances on that voyage, including sets from Yes, Marillion, PFM, Three Friends, Martin Barre, Moon Safari, and so many others, there was one group that made a very rare appearance, and stood out from the pack, and that was Swedish progressive rock band Änglagård. Their two sets were masterful, florid demonstrations of the sonic power and grace that this genre can attain.

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Änglagård charted a new course for the progressive rock genre beginning in 1991 with the release of their debut Hybris. With influences such as King Crimson, SFF, Shylock, Ragnarok and other European bands, Änglagård incorporated flute and acoustic instruments, along with electric guitars, keyboards and vocals, all anchored by Johan Brand’s confident leads on Rickenbacker Bass and then drummer Mattias Olsson’s massive array of toms, bells, and varied forms of percussion. The debut was a spectacular, influential masterwork that drew audiences already attuned to the prog genre, along with new fans attracted by the mix of beautiful pastoral and euro-folk songs infused with powerful, metal passages.

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Fans and critics also rightly applauded their second album, the all-instrumental Epilog in 1994. At this point, unfortunately, the band went on a very long hiatus. With the exception of several performances in 2003 including one at Nearfest, the group did not return to the spotlight until July 2012 when they released their third album Viljans Oga. Shortly after this, Tord Lindman rejoined the band and they recruited new members, touring on and off during 2013, with the following lineup, unchanged when we saw them last month on the cruise:

Anna Holmgren (flute, saxophone, Mellotron, recorder, melodica)
Johan Brand (bass, moog Taurus basspedals, atmospheric sound
Tord Lindman (guitar, vocals, gong and atmospheric sound
Erik Hammarstrom (drums, cymbals, vibraphone, glockenspiel, tubular bells, gran casa, gong)
Linus Kase (Hammond B3, Mellotron, fender phodes, moog voyager, piano, soprano saxophone, vocals)

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One of the tour stops in 2013 was for a series of performances on March 15, 16, and 17th in Japan at Club Sitta. These were recorded for an amazing new live album, Prog pa Svenska, Live Anglagard_LiveCD_72dpiin Japan released January 2014. The album captures the band in top form, with older tracks revitalized and colored with a broader palette, a more dynamic range. In liner notes for the album, Matt Di Giordano claims rightly that the band “paint a hurricane of sound with more subtle shades than ever.” The album begins with a new track “Introvert
us” described as “melodies and riffs of all kinds flying across the room. Intricate drum patterns, whining guitar, ripping bass lines, beautiful Mellotron, proggy Hammond riffs, fuzzy Wurlitzer melodies, blistering saxophone and ornamented flute.” It’s an amazing document of a band coming back to form, and going beyond their beginnings, captured at just the right time in front of rapturous fans. It’s the launching point for their work on a new album.

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In correspondence with bassist Johan Brand, he told me about the band’s work on that new album. I asked how the work was progressing, and if there will be a change in sound or approach:

Johan: Everyone in the band has amassed quite a lot of new written material that we are going to put together now as new Änglagård songs. I dare not comment on how the new record might sound. But we are not a band which softens with age and begins to play more readily available prog …No… Änglagård are uncompromising when it comes to song composition, sound, recording and artwork.

Therefore we will complete the entire process ourselves. We are being meticulous in creating a new record will have the same high quality as the early albums.

I dare not say when the record will be completed but it shouldn’t take 10 years this time! What I can say is that we plan to record each track as much as possible live in a studio environment. We think it is important that the material have grove and feel real and free.

In the meantime, fans and newcomers will be interested to know that this month the Japanese record label, Disc Union will release a deluxe CD box as a tribute to the album Hybris titled 23 years of Hybris.

The box is limited to 500 numbered copies. It will be three CDs with lots of inserts and a thick book of photographs from the early years that have never before been published:

CD1, Original Studio Recording, Hybris
CD2, Early Tapes, old demos, live material, jam sessions
CD3, Radio documentary

For any fan of progressive rock, or adventurous music in general, this will make a stylish holiday gift!

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One of the very cool things about Änglagård’s sets on the cruise is that they varied the two shows so as to play a larger cross section of their excellent material. The set lists for the cruise were:

Pool stage.

Höstsejd
Vandringar i vilsenhet
Sorgmantel
Jordrök
Sista somrar

Atrium stage:

Prolog
Höstsejd
Längtans klocka
Introvertus fugu part1
I från klarhet till klarhet
Kung bore

Every attendee I talked to was excited to vote for Änglagård’s return to the next Cruise To The Edge voyage planned for 2017. Let’s hope that happens, as this band embodies modern progressive rock, and deserves to be seen and heard by every fan of the genre.

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CRUISE TO THE EDGE OF TIME

CTTE_Poster_72dpiWhew, I did it again. Year number two taking a cruise out of Miami, something I thought I would never do. Once again the third annual Cruise To The Edge featured Yes along with performances by over 15 old and new progressive rock bands. It was another chance to rock to the jagged beat of prog, pop seasickness pills, collect some new t-shirts, and catch God knows what in the process.

Part of what drives me to these shows is the desire to see some of these artists while they are still gigging. At this point, several bands from the 1970’s continue on with just one or two original members, restocking the ranks with new recruits. While decried in some circles, this continued perseverance still results in some spectacular concerts. I prefer to liken it to the fact that symphonies all over the world still play the music of Bach, long after his death. I’m coming away from the experience with a renewed interest in some older acts, along with a few new bands to add to the collection. By all accounts, cruisers had a good time, and the event was again a success. The following is a summary of all the bands we witnessed over the 5 days, in alphabetical order:

Anglagard

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These Swedish prog-rockers topped the bill for this voyager, featuring their brand of moody, atmospheric tunes that take their cue from early King Crimson while remaining uniquely their own, steeped in the strong musical scene of the Netherlands. At center stage, Anna Holmgren leads or colors the mostly instrumental pieces with warm expressive flute, saxophone, and other wind and percussion instruments, with bursts of Mellotron for good measure. Founding bassist Johan Brand is a focal point, putting muscle into the mix via his Rickenbacker bass guitar and towering stage presence. Founding guitarist Tord Lindman also provided vocals on two tracks. Jonas Engdegard (guitars,) Linus Kase (keyboards) and Erik Hammarstrom (drums) round out the group. The band comes across as a very integrated, tight unit, giving voice to each musician in kind. At times their studio recordings can sound a bit cold and distant – not so when performed live – all the nuance and beauty of the pieces shine, balanced favorably against ample dissonance. I’ll do a whole article on this wonderful band in the coming weeks.

Martin Barre

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This long time Jethro Tull guitarist led his crack band of blues-rockers through a roots-oriented show on Saturday’s pre-cruise concert, focusing on new songs from his latest solo album, the excellent return to form Back To Steel. A follow-up Monday morning gig featured more Tull classics including a very condensed version of a Tull epic they called “Thin As A Brick” after which Martin expressed the desire to carry on indefinitely, threatening to play the 1973 opus A Passion Play backwards! On the new album and in concert, vocalist and second guitarist Dan Crisp shines, bringing his own style to the new tracks, and the older Tull songs. It’s refreshing to hear cuts like “To Cry You A Song” and “Minstrel In The Gallery” interpreted anew and sung once more with passion and punch. Clearly, all members of the band, which included skilled drummer George Lindsay and veteran bassist Alan Thomson were in fine form. Martin looked happy and relaxed, joking that it was the first gig they played on coffee, and announcing, “Thank you for choosing us over porridge…were going to be the best breakfast you ever had!” Truer words…

Caravan

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For one reason or another in the past I’ve never been able to catch this veteran act, one that was at the heart of the Canterbury scene back in the day. Instead, I’ve only seen individual members play live, as they came and went from fellow prog band Camel’s lineup. This was righted last week as Caravan’s founding member Pye Hastings (vocals, guitar) joined long time members Geoffrey Richardson (vocals, flute, violin, spoons) and Jan Schelhaas (keyboards) with Jim Leverton (bass) and Mark Walker (drums) for a set that touched on the band’s work over these last 45 years. The highlights for this fan were “Nine Feet Underground” from In The Land of Grey and Pink and the long song “For Richard” both demonstrating the enduring talent of this long standing group.

Haken

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Haken impressed with the raw power of their performances, at once rough yet often refined, particularly as their long form songs lead them to interludes that feature contrapuntal instrumentals and vocal madrigals. Lead singer Ross Jennings keeps the energy up, showcasing clean vocals and confident stagecraft.

Lifesigns

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This was the first band up on Saturday, the pre-cruise show, followed by a gig on the ship itself. They weren’t my cup of tea, but friends on the cruise reported loving their sets. It might be cause for repeated listening in order to “get it.”

Marillion

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Wisely, this band changed up their set list this year. Singer Steve Hogarth wrings emotional depth from song-stories that cover a variety of themes as he crisscrosses the stage to punctuate their delivery. The talented band hit many highpoints with the title track of their last album Sounds That Can’t Be Made, “Man Of A Thousand Faces” and a song about the vagrancies of fame, accompanied by film clips of departed artists from Marilyn Monroe to Elvis, John Lennon, Jim Morrison and many others who shone brightly but were taken too soon. Encore “The Invisible Man” was a spectacular way to close out the cruise on its final evening.

Moon Safari

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No relations to the French band Air, this Swedish outfit ended up being my wife’s favorite, and it was easy to see why as this young band plays a slightly less angular, and definitely more accessible brand of progressive music than many of their peers. The musical chops are there, with solid bass and drums supporting excellent leads on guitar and synthesizers. But the real strength of this band are their vocals, presented live in energetic performances that find the front line alternating leads and harmonizing beautifully throughout, ending the show with a 5 part a’capella capper that had the audience on their feet.

Premiata Forneria Marconi (PFM)

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Another band that brought me back for a second year, Italy’s PFM lit up the poolside stage on two successive days playing a set list heavy on selections from their masterpiece Photos of Ghosts (1973), and other 70’s favorites. Two more recent tracks from their ode to Mozart “Pfm in Classic – Da Mozart a Celebration” rocked discerning attendees. The set list was nearly the same as last year, but the musicians delivered two fun, energetic hours of fresh-baked Italian prog gems. Founding guitarist and vocalist Franco Mussida retired earlier this year, and was replaced for this tour by two excellent musicians, one of whom sings Franco’s vocal parts, and both of whom play acoustic and electric guitars respectively. On Wednesday a bit of bad luck hit, as accomplished drummer, vocalist and band leader Franz Di Cioccio missed the second day’s show due to illness, leaving power-bassist Patrick Djivas to lead the show, which he did with aplomb, though reporting at one point that it was definitely strange to play without Franz.

Saga

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This Canadian ensemble played an evening set on the last day of the cruise, taking the audience through a collection of their upbeat tunes, marked by the hit “On The Loose” finding vocalist Michael Sadler and band in top form.

Three Friends (Minus Two!)

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Last year Three Friends played the complex, thrilling music of Gentle Giant led by two original band members, guitarist Gary Green, and drummer Malcolm Mortimore, down from three after the departure of original master keyboardist Kerry Minnear. The band was a second major reason for me to return to the cruise, and the news that Gary Green suffered a heart attack a few days before the launch was disappointing, though fortunately by all accounts he is recovering swiftly. Instead of cancelling, the band played on, led by Malcolm front and center on drums, joined by vocalist Pierre Valentin, winds and violin player Charlotte Glasson, bassist Jonathan Noyce, and keyboard wizard Neil Angilley. While Gary was clearly missed, their gigs on pre-cruise Saturday and again on the ship demonstrated their chops, and in fact allowed for a bit of additional focus on the keyboard parts, so ably interpreted and augmented by Neil’s talented, percussive playing. The set list was not greatly changed from the last voyage, but a standout track was added from the album Octopus, as “Think of Me With Kindness”, pulled at audience heartstrings with a beautiful vocal rendition from Pierre. Also, the inclusion of “Mobile” from Free Hand, gave Charlotte a chance to step up on violin. The show was great, and all hands on deck wished Gary a quick recovery and a return to the stage, while we enjoyed Three-Friends-Minus-Two!

Yes

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I wasn’t certain what to expect from Yes this time out. Original bassist Chris Squire passed away earlier this year, having named Billy Sherwood his successor for a summer tour headlining with Toto. The tour found the band focusing on some of their more popular songs, and most of that set list remained for this show. It’s somewhat unfortunate, as long-time opener “Siberian Khatru,” and closer “Starship Trooper” were in place once again, as well as “Don’t Kill The Whale,” “Your Move,” “Time and a Word,” “Tempus Fugit” and other familiar choices. Given this a Yes cruise, packed with avid Yes fans, it would make more sense for the band to alter the set, prepare a list of rare cuts and make the event more unique and special. Also the band continues to slow the pace of their pieces for live performance. While ensuring maestro Howe hits every note on the original records, it robs the proceedings of immediacy and leaves drummer Alan White to keep a steady beat that never seems to change during the show.

Having said all that, the performance was otherwise strong, and a new track from Heaven and Earth, along with a couple of rarely played songs made it onto the set list, namely “White Car” from Drama, and the beautiful masterwork “Soon” from Relayer. The latter in particular demonstrated the care and skill brought to bass leads by Billy Sherwood, with runs that defined the track alongside Howe’s slide guitar in equal measure. It reminded me of how unique and wonderful Squire’s playing was, and I rooted for Billy along with the rest of the audience, as he not only did justice to Squire’s legacy both on bass and vocals, but also was able to inject a new energy and a unique personal style to the proceedings. In addition, Jon Davison at this point sounds like Jon Davison, not an echo of Mr. Anderson. It seems this has been true from his second outing on, but we really noticed this time how Davison brings his own personality and voice to the evening, along with his heartfelt, uplifting stagecraft.

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Honorable mention goes out to artists we missed this time out at sea. As always it’s impossible to get to every single band on a cruise that is essentially a moving festival with multiple stages, as there are bound to be scheduling conflicts. This time out we missed Jolly, Thinking Scientists, Spock’s Beard/Neal Morse, and IO Earth to name a few, each of which landed positive reviews from the other cruisers that attended their sets. I didn’t talk to anyone who caught Alan Holdsworth’s sets, so can’t report on that, though rumor was he almost bailed on the cruise before it’s launch.

As to the collection of bands this year, it was a great, if not exceptional lineup for those who have attended in the past. Circumstantially, several acts such as PFM, and Three Friends staged shows that were very similar to last year, and the absence of marquee names to replace Steve Hackett and U.K. was unfortunate. Still, Marillion changed it up quite a bit with a very different set and a performance that continues to draw us into their circle. Plus, Martin Barre, Anglagard and Caravan were all excellent, and the cruise overall must be deemed a success.

No doubt master-of-ceremonies Jon Kirkman has already received countless suggestions as to bands that might be invited next year. It would seem that another headliner is in order, such as Rush or a similar major act that would change things up a bit. I for one would also vote for adding quality jazz-fusion acts, such as Zappa Plays Zappa, Al DiMeola or Simon Phillips for example. Unfortunately, I’m not sure that this year’s fusion axeman Alan Holdsworth drew many attendees. Also prog from North America is under represented, and organizers could include Oblivion Sun (former members of Happy The Man) or even Kansas or Styx, as both bands have staged strong tours this past year. Possibly the Dixie Dregs could be reunited? It’s got to be increasingly hard to assemble enough veteran acts to join the neo-proggers, so hat’s off to Jon and the organizers of this event for delivering the goods!

This was definitely a memorable event, well run, on a well-appointed cruise ship from Norwegian Cruise Lines. The organizers of the Cruise To The Edge floating festival threw a lifeline to old and new progressive rock acts alike.