Information on the Allan Holdsworth Trio Tour: http://www.therealallanholdsworth.com/allanlive.htm
What a treat to see Allan Holdsworth, Gary Husband and Jimmy Haslip last night at the Iron Horse Music Hall (I used to know it as the Iron Horse Cafe) in Northampton, MA. The lighting could’ve been better (so the photos aren’t great), but the food was pretty darned good (as was the company and others in the crowd). This was the first gig of the trio and there were some kinks with equipment (and some timing), but all three were in fine form and probably the most energetic I’ve ever seen Allan Holdsworth on stage during his solos especially. The trio worked well together and all took solos throughout the nearly 90 minute set. Jimmy Haslip scatted along with a couple of his solos and Gary Husband was explosive at times–really a treat to watch him play again (it’s been a long time!). Great humor and chemistry between the band and the crowd. The opening trio (Beledo and Friends) was a nice complement to the music of the night and members are from Uruguay, Ireland…and BROOKLYN!!). Gary Husband spent a great deal of time hiding behind the ride cymbal from where we were sitting, but he was pretty much a blur all night anyway!
I recognized most of the set from albums like The Sixteen Men of Tain, IOU, Sand, All Night Wrong and it’s always a treat to hear Zone, Water on the Brain, Lanyard Loop, Fred and one of my (more ambient) favorites Above & Below. In the middle of the set there was a piece that I didn’t recognize and it was rather free form with three equal solos.
Thanks for a great night, and by all means–get tickets to see this trio!
EANTCD 1032 – Esoteric Antenna (Cherry Red Records) – Time: 46:54
Tracks: 1) Time, 2) Memory, 3) Kombat Kid, 4) Headcase, 5) Eminent Victorians, 6) Broken, 7) Shadowland, 8) Entropy
Other music genres aside, I posit that many fans of Progressive Rock (Progressive Metal and other sub-genres included) have fairly high expectations when anticipating the release of an album by a favorite artist or band. The hope is perhaps for certain sounds and instrumentation—in a way, holding onto the past, the memories. I’m certainly guilty of that (I want Mellotrons, Les Pauls, E-bows and bass pedals), but I also hope for variants and invention in addition to complicated rhythms and key signatures that I associate with Prog Rock.
Music can trigger memories; hear a song and it can take one back to a long distant place and time, instantly. My memory of Nick’s work goes back to the early days of the Steve Hackett Band, in the late 1970s through the 1980s, and I certainly remember standing up front at more than a few venues close to the stage, marveling at Nick using his two (four?!) hands, feet and even elbows at times to assist with bringing Steve Hackett’s early work to life (he was a large part of the sound and technology of that era…and the transition from the analog to digital era in instrumentation and recording technology). Then, of course, I have enjoyed his solo work beginning with Straight On Til Morning from 1993.
I’ve heard some recent Prog Rock albums (even albums that I like) where the artist felt it necessary to include frequent derivative historical references and instrumentation or phrasing to other artist’s albums, but Magnus resists this temptation and takes n’monix in unexpected directions and makes it his own. The album does include many new friends as well as old; a connection to the past while looking to the future: Steve Hackett, Tony Patterson, Tim Bowness, Pete Hicks, Rob Townsend, James Reeves, Kate Faber and Andy Neve. Once again, long time collaborator, Dick Foster delivers sharp, witty and poignant lyrics that combine so well with the music.
n’monix is social commentary, history, reality and an observation of the results of technological advancements and the effects they have on us all. The more information available, the more to process, the more to remember and as a result we need devices to cope, mnemonics of many types. And curiously, even with the most tragic and unjust, we humans have such short memories; history is bound to repeat itself, it sadly becomes inevitable. We are victims of our own creations. The album is also about loss on many levels.
Time is the allegro of the symphony or the overture to the opera and it’s aggressive with firm vocals by Tony Patterson (and it will give your audio equipment a workout). By contrast (but very much in keeping with the symphonic reference) Memory is an adagio (slower tempo) waltz of sorts, which shifts from a somewhat shrouded soprano solo to broad choral treatment. Kombat Kid is an allegory. It is part march, part recitative and a story of consumption, manipulation and obsession…a reminder to step away from the keyboard or game controller now and then. Headcase is the only track on the album that even vaguely includes an homage…in this case (it seems to me!) to Gentle Giant…with quirky rhythms and lyrics—and memory games in the lyrics. Eminent Victorians is the most fantastical of the pieces on the album (with a brilliant animated video to accompany and vocals by the carnival “barker” Pete Hicks), and traces the absurdity of the served and servants, the sacrifices of the young and poor for the glory of an Empire and upper class; a familiar theme even today as income gaps grow ever wider and those less fortunate suffer even more. EV also includes prominent and most welcomed solos by Steve Hackett.
Broken is a heartbreaking lament with remarkable and emotional soprano saxophone solos by Rob Townsend (I have to admit that I had quite an unexpected emotional reaction to the track). Reality hits in the mournful resignation and loss of Shadowland and includes choral treatments and a stark guitar solo again from Steve Hackett. Some of the original themes return in the opening of the final track Entropy, an acceptance of reality and the unknown possibilities. I am certain that I have missed some of the literary, mystical and historical references…for now.
Although the subject matter of this album can be rather daunting, I find it to be somewhat lighter in spirit at times and more musical compared to Nick’s brilliant previous album Children of Another God. n’monix is impeccably arranged and orchestrated, and dances on the edge of being symphonic and operatic while including original and accessible songwriting. This is certainly not an album that collapses under the weight of a Prog Rock cliché, in fact, just the opposite–it brings a fresh relevance and viewpoint to the genre.
…A Not-So Comprehensive List
2013 has been a quirky year; for a time I found that inspiration had vanished and I wasn’t interested in listening to music or writing about it at all (a rare occurrence). I’m guilty of having purchased less music this year (an economic curtailment of necessity). Nonetheless, there has been some great music in 2013 (and my slice is a tiny piece of what’s out there). This year I read some music-related memoirs by artists whose work I’ve admired for decades (Burt Bacharach, Neil Young, Michael Feinstein–of his time spent with Ira Gershwin and other books), some histories of Jazz Standards, Blues, Rock and Roll, and records labels (including one of my favorite indie labels, Merge Records). I was also fortunate to attend a number of live shows, and I’ve posted photos of some of those throughout the year.
Is it me or have record labels and artists reduced their output somewhat? Is it a lull in a normal cycle or a sign of the economic times?
Some of the music on this list will be familiar if you have checked-in to read my reviews and some I have not reviewed. I also have some albums I’m still listening to and I haven’t decided if I’ll write reviews for them (an archival release by The Books, La Luz’s first LP, Mary Lattimore and others). One album in particular that I’ve enjoyed recently (although it was NOT released this year) is a live archive solo recording of Neil Young at the Canterbury House in 1968 entitled Sugar Mountain—the album is mostly material that Young wrote or co-wrote with Buffalo-Springfield, and it was recorded right after Buffalo-Springfield broke-up.
A double live CD has also just arrived of one of the last (very lively hot Jazz) gigs played by the house band at Eddie Condon’s in New York City before it closed in 1985—One Night at Eddie Condon’s (Red “The Commodore” Balaban’s Condon Band), with Ed Polcer, Dr Palu Squire, Jack Maheu, Tom Artin, Bobby Pratt, Dave Shapiro and Danny D’Imperio, recorded by Doug Pomeroy)–thanks to Tom Artin for sending this great piece of Jazz history!
The Lucky 13 (all albums purchased–not promos)
Yellowbirds – Songs From The Vanished Frontier – Royal Potato Family: This is my favorite album of the year—just love it–the vibe, the sounds. Please see my June review.
Harold Budd – Jane 1-11 – Darla: The music with companion videos release won’t be available until early 2014, but another beautiful album from HB. I reviewed this album in June, as well.
John Scofield – Überjam Deux – Emarcy: I reviewed this album in August—an excellent follow-up to the original Überjam, and a great vibe with Jazz, Blues and more!
Steve Hackett – Genesis Revisited: Live At Hammersmith (CD/DVD) – InsideOut: As I noted in my review of last year’s studio release of Genesis Revisited II, I feel like Steve Hackett is the keeper of the spirit of the work of Genesis during the 1971 to 1977 era. So many of the earlier recordings (weak on the engineering and mix, except The Lamb) were greatly improved and enhanced, and this comprehensive 3 CD and 2 DVD set documents the fabulous and memorable Hammersmith show in May of 2013 before the band traveled to the US for their fall tour. The SH Band will tour further in support of this in the southeastern US and Europe and Russia is 2014 (bassist Lee Pomeroy will be replaced by Nick Beggs, a familiar face to Hackett Band fans…I really enjoyed Lee on this tour, he really brought out just how musical Mike Rutherford’s bass lines are in these earlier Genesis classics).
Wire – Change Becomes Us – Pink Flag: I was a big fan of Wire in the late 1970s and then I just plain lost touch with their work. The Words On Music label has a compilation of reinterpretations of their well-known single Outdoor Miner from their 1978 Chairs Missing album, and then I noticed a post earlier in the year by Marc Ostermeier (of the band Should ,and WOM and Tench labels) that a new album was forthcoming.
Juliette Commagere – Human – Aeronaut: Late in 2010 Commagere released her album The Procession on Manimal Records—a diverse combination of songs with dense and gorgeous vocals instrumentation—part art-rock, progressive and electronica. Commagere has returned with another beautifully recorded album of lush songs with her strong vocals and support from husband Joachim Cooder, Ben Messelbeck, Amir Yaghmai, Ry Cooder and recorded by Mark Rains and Martin Pradler. The sound is deep, full, inventive and often fantastical—she is doing her own thing, and I love it (catchy melodies and all). There are times when she channels Elizabeth Fraser as on Low.
Roger Eno – Ted Sheldrake – Backwater: Thirty Years after his first work Apollo with brother Brian and guitarist Dan Lanois, Roger Eno compiled this tribute to friend and neighbor, Ted Sheldrake. Although I reviewed this album in November of 2012, it wasn’t officially released until January of this year.
Cock & Swan – Secret Angles – HushHush: I am eagerly awaiting my blue vinyl (Kickstarter-funded) copy of this digital release that I reviewed in August.
The Bryan Ferry Orchestra – The Jazz Age – BMG: Back in March I did a brief comparative analysis of this album and Steven Wilson’s latest (see below). I think this is a really spirited and fun reinterpretation of earlier works by Roxy Music and BF. Being a lover of old acoustically recorded 78s of the pre-Jazz and Jazz ages, I get this.
Steven Wilson – The Raven That Refused To Sing (and Other Stories) – kscope: A strong album (I think it’s Steve’s best to date), beautifully recorded and engineered by Alan Parsons. My favorite song is Drive Home.
William Tyler – Impossible Truth – Merge: A brilliant solo guitar album by Lambchop and Hands Off Cuba alum, and a great follow-up to his previous Tompkins Square release Behold The Spirit. I reviewed this album in March.
Celer – Viewpoint – Murmur: As I noted when I reviewed this album in April, I find this album absorbing and romantic—a great piece for getting lost.
Ron Sexsmith – Forever Endeavour – Cooking Vinyl: I love Ron’s work–started listening in 1997 with his third album Other Songs. Forever Endeavour is sparsely arranged, but strings, horn, percussion, pedal steel or electric bass are right there when they’re needed. Other than that, the songs are Ron’s voice, and his acoustic guitar. He has a gift for wordplay and expressing emotions with a deft efficiency that flow so naturally with his melodies. Some songs on Forever Endeavour are ironically upbeat, like Nowhere Is and Snake Road—in a sense, keeping the faith. The CD has two bonus tracks (songs written with Don Black and recorded by Don Kerr), Life After A Broken Heart and Autumn Light, and they are just plain gorgeous additions to this album. Here’s a live recording of Autumn Light.
Two of my favorite new discoveries in 2013
Meridian Brothers – Desesperanza – Soundway: I heard about Meridian Brothers in an NPR Alt Latino podcast and was instantly hooked by this band from Bogata, Colombia–buying as much of their back catalog as I could find in physical releases. Their music is surreal and playful—a combination of Joe Meek, Esquivel and Raymond Scott.
La Luz – Brainwash (7″) – Suicide Squeeze: This is a single (my version is on clear vinyl) that was released by La Luz just prior to their new album It’s Alive—It’s infectious and fun! I got to La Luz thanks to Johnny Goss (one half of Cock & Swan).
A small collection of photos from the Steve Hackett Band show in Ridgefield, CT on September 29, 2013. I request that if you decide to copy or repost these photos they are credited to “wajobu.com” Thank you.
Due to my seating position, I didn’t have many opportunities to photograph Rob Townsend (woodwinds and keyboards) and Roger King (keyboards), but the entire band appears in the photo below. It was another great show on the US Genesis Revisited Tour.
A GREAT show by the Steve Hackett Band last night. Ian McDonald was in the audience and backstage along with Adam Holzman (keyboards on Steven Wilson’s recent album) and Francis Dunnery (who joined the band for a couple of the songs). Steve noted to the audience how much Ian McDonald’s early work with King Crimson influenced him during his early period with Genesis. The set list is here (top of page): http://www.hackettsongs.com/setlist/3tour.html And it was a real thrill to hear so many songs that I haven’t heard in some cases for more than 30 years like The Fountain of Salmacis. Onward (for me) to Saturday’s sold out show in CT, but the band is playing a show at the Theater at Westbury (Long Island, NY) on Friday night. I didn’t take many photos last night, because I didn’t have a high quality camera and I wanted to focus more on the show and the music.
Left to right (after the encore): Roger King, Rob Townsend, Nad Sylvan, Steve Hackett, Lee Pomeroy and Gary O’Toole.
I have to say that the award last night (and the entire band looked like they were having fun) goes to Lee (playing right-handed guitars and bass left-handed) who had huge smiles on his face each time he fired-off those thundering bass pedals. It was a real treat to see such a great band again, this time…on Broadway…at the Best Buy Theater.
More on the tour and Steve Hackett here: http://www.hackettsongs.com/index.html