Jon Anderson’s voice has been a beacon of light for more than 40 years. As the mystical singer of Yes, Jon helped define progressive rock in 1970s, creating some of the most ambitious and timeless musical works of his generation. In the 1980s, Anderson paired up with the Greek keyboard wizard Vangelis, a collaboration that resulted in hauntingly beautiful extended works like The Friends of Mr. Cairo and Horizons. And in the 1990s, Jon teamed up with the New-Age composer Kitaro to create the exquisite and inspiring music found on the album Dreams.
In the new millennium Anderson continued to work with Yes until life-threatening health issues led to his involuntary departure from the group he put his heart and soul into. The circumstances surrounding Jon’s rift with the band are unfortunate. However, true to form Jon has responded to the challenges life thrust upon him with personal and musical dignity. I saw Jon Anderson in concert in Ridgefield CT in 2010 and can personally attest that his unique musical gifts (and sense of humor) are well intact. Jon is still in very good voice and his music and stage presence are as enchanting as ever.
Jon is best experienced in small venues, which allow for an intimate setting and a real rapport with the audience. Recording technology is amazing, but no CD or recording can truly capture the magic of hearing Jon live. Nevertheless, his new album, Survival and Other Stories does what good music should do; namely, it creates a bond with its listeners.
Jon’s music on Survival and Other Stories is both highly personal and deeply felt. Unbroken Spirit touches on Jon’s health crisis and his struggle to maintain his spirit in the face of bodily decline. This is not the kind of fare you’d expect from a rock singer, but this gentle, almost whimsical song is suffused with a melodic grace that is touching and inspiring.
Jon is in remarkably good voice throughout this record, which is a wonder considering his health issues. Nevertheless, one can’t help but notice a certain frailty and vulnerability in his sound. If anything, I think this works to the music’s advantage because I believe age has extended the emotional range in Jon’s voice. Paradoxically, Jon may sound more emotionally exposed, but he is also more inspiring than ever.
There is a wealth of great melodies on this album. Love and Understanding, for example, is as uplifting and melodically exuberant as anything Jon Anderson has ever done. The music here is just full of an irrepressible soul-nourishing joy. Just One Man, on the other hand, is an achingly beautiful song that expresses Jon’s belief that hope can triumph over mankind’s tragic condition.
If I were to use just one word to describe the music on the album it would be “organic.” The songs here are wholesome, refreshing, and soul-nourishing. Jon’s spirit is shining as brightly as ever on his new album. This is music that will warm your heart and touch your soul.
Wednesday, July 6, 2011
Monday, July 4, 2011
Yes - Fly from Here Review
Yes is a band known for transporting listeners into uncharted musical spheres. Close the Edge ventured into cosmic states of consciousness, Gates of Delirium into the madness of war, and Tales from Topographic Oceans delved into mankind’s collective unconscious. Yes’ latest foray, Fly from Here is a comparatively down to earth affair (it merely entails a voyage into the nostalgic realm of vintage air travel circa the 1940s).
The subject of time travel is entirely appropriate given the origins of Yes’ latest epic, which first surfaced as an unreleased demo from the sessions of the Drama album recorded some thirty years ago. That album was the first and only album to feature The Buggles, the pop duo of Trevor Horn and Geoff Downes, who replaced the irreplaceable Jon Anderson and Rick Wakeman. Drama, however, turned out to be a solid, cohesive, and musically rewarding effort, but the newly configured Yes disbanded shortly thereafter.
Trevor Horn became a successful producer. Geoff Downes went on to form Asia. And Yes has continued its musical rollercoaster journey while shuffling its membership like musical chairs. Jon Anderson and Rick Wakeman have returned to and left Yes so many times that I’m convinced that the song Roundabout refers to the revolving door members pass through on their way in and out of the band.
Recent health problems have sidelined Jon and Rick from the band. In a seeming act of desperation, Yes enlisted the vocal services of a young Canadian singer named Benoit David after discovering him on YouTube. Shortly thereafter, Yes announced they were returning to the studio to record their first album in a decade. Before long, the band leaked word that the Buggles were back on board Yes too; Trevor Horn would produce the album and Geoff Downes would take over keyboards from Oliver Wakeman, Rick’s son, who had donned his father’s old cape, so to speak.
By now, it seemed that the Yes saga had more plot twists and personnel changes than a daytime soap opera. All the indicators suggested that Fly from Here was destined to be a musical letdown. Against all odds, Fly from Here is the closest Yes has come to a musical masterpiece in more than thirty years.
The choice of Beniot David has proven to be inspiration rather than desperation. Following Jon Anderson is no easy feat, but Benoit has a strikingly beautiful voice, particularly in the lower and middle registers. Like Anderson, Benoit also has the ability to soar vocally, but on the new album he wisely avoids trying to duplicate Anderson. Instead, Benoit puts his own stamp on the new material. In a band of world-class musicians, Benoit manages to sound both astonishingly accomplished and remarkably relaxed for a newcomer. His vocals are effortlessly invigorating and a great fit for the band and the new music.
Trevor Horn and Geoff Downes deserve enormous credit for reinvigorating Yes. They are responsible for writing much of the new material, including the overture to the 24 minute title track, Yes’ longest epic ever. Yes is a band that knows how to make a musical entrance, and opening of Fly from Here is Yes at its breathtaking best. The piece begins with a simple but haunting refrain from Geoff Downes’ keyboards. New musical lines are added in fugue like fashion. By the time Chris Squire’s thunderous bass enters you’ll know it’s time to fasten your safety belt. When Steve Howe’s guitar enters the mix you’ll know you’re heading for a destination that isn’t on any map.
The title track consists of six song-suites which segue into one another. Like classical music, Yes introduce a musical motif and then develop that theme in interesting and complex ways. Yes has used this technique before, but not since Close to the Edge and Tales from Topographic Oceans has Yes used it so effectively.
What matters in music, of course, is emotion, the ability to stir listeners, imbue them with a sense of wonder, and tap deep feelings.
There are several passages in Fly from Here that are as intense as anything Yes has ever done. That is to say, there are some soul-stirring moments in this work. Sad Night at the Airfield, in my view, is simply magnificent. Here, the tasteful elegance of Steve Howe’s acoustic guitar is perfectly matched by Beniot David’s exquisite vocals. The song begins wonderfully, but things really take off near the end with a heavenly chorus and Steve Howe’s sublime steel pedal guitar work. Suffice it to say, Sad Night at the Airfield is one of Yes’ finest moments ever.
Mad Man at the Screens contains the kind of music Yes fans live for. When Yes are clicking on all cylinders their music has a focus, power, and intensity that is hard to match. This is certainly the case with the mesmerizing coda to this track, where keyboardist Geoff Downes provides the musical sparks that ignite the band, essentially taking some terrific music up to a whole new level.
What I love about this album is its freshness and vitality. The music is consistently good, but on several occasions it soars clear out of sight. There is not a single unnecessary or throwaway song on the album. The Man You Always Wanted Me to Be showcases Chris Squire’s exceptional vocal talents. His innate musicality and sense of counterpoint harmony contribute to many thrilling moments throughout the album.
Steve Howe is a guitarist in a class by himself. His solo acoustic piece, Solitaire, is everything Yes fans and guitar aficionados have come to expect from him. It is a gentle, warm, and tasteful piece that brings out the natural beauty and magic of the guitar.
I’d be amiss if I overlooked Alan White’s contribution. White is to percussion what George Harrison was to the guitar. In other words, White is not the flashiest guy around, but he always plays great and he always provides just exactly what the music needs. The tandem of Squire and White provide Yes with a peerless rhythm section gives the music on Fly from Here a sense of forward momentum.
Fly from Here concludes with Into the Storm, a song that combines Yes’ cosmic approach with some self-deprecating humor. The song exhibits all the ingredients that make Fly from Here such a winning album: wonderful melodies, a pervasive sense that the band members are having fun, and musical passages that consistently take off in unexpected but exciting directions.
Fly from Here is the freshest, most exciting, and confident music Yes has made in decades. Newcomer Benoit David earns his Yes wings by doing such an unexpectedly fantastic job with the lead vocals. Ditto Trevor Horn and Geoff Downes, who have returned to the Yes fold after a 30 year hiatus. Fly from Here, like the best of Yes’ music, is a grand musical adventure that includes many spectacular soundscapes and thrilling musical vistas. Bravo, gentlemen
The subject of time travel is entirely appropriate given the origins of Yes’ latest epic, which first surfaced as an unreleased demo from the sessions of the Drama album recorded some thirty years ago. That album was the first and only album to feature The Buggles, the pop duo of Trevor Horn and Geoff Downes, who replaced the irreplaceable Jon Anderson and Rick Wakeman. Drama, however, turned out to be a solid, cohesive, and musically rewarding effort, but the newly configured Yes disbanded shortly thereafter.
Trevor Horn became a successful producer. Geoff Downes went on to form Asia. And Yes has continued its musical rollercoaster journey while shuffling its membership like musical chairs. Jon Anderson and Rick Wakeman have returned to and left Yes so many times that I’m convinced that the song Roundabout refers to the revolving door members pass through on their way in and out of the band.
Recent health problems have sidelined Jon and Rick from the band. In a seeming act of desperation, Yes enlisted the vocal services of a young Canadian singer named Benoit David after discovering him on YouTube. Shortly thereafter, Yes announced they were returning to the studio to record their first album in a decade. Before long, the band leaked word that the Buggles were back on board Yes too; Trevor Horn would produce the album and Geoff Downes would take over keyboards from Oliver Wakeman, Rick’s son, who had donned his father’s old cape, so to speak.
By now, it seemed that the Yes saga had more plot twists and personnel changes than a daytime soap opera. All the indicators suggested that Fly from Here was destined to be a musical letdown. Against all odds, Fly from Here is the closest Yes has come to a musical masterpiece in more than thirty years.
The choice of Beniot David has proven to be inspiration rather than desperation. Following Jon Anderson is no easy feat, but Benoit has a strikingly beautiful voice, particularly in the lower and middle registers. Like Anderson, Benoit also has the ability to soar vocally, but on the new album he wisely avoids trying to duplicate Anderson. Instead, Benoit puts his own stamp on the new material. In a band of world-class musicians, Benoit manages to sound both astonishingly accomplished and remarkably relaxed for a newcomer. His vocals are effortlessly invigorating and a great fit for the band and the new music.
Trevor Horn and Geoff Downes deserve enormous credit for reinvigorating Yes. They are responsible for writing much of the new material, including the overture to the 24 minute title track, Yes’ longest epic ever. Yes is a band that knows how to make a musical entrance, and opening of Fly from Here is Yes at its breathtaking best. The piece begins with a simple but haunting refrain from Geoff Downes’ keyboards. New musical lines are added in fugue like fashion. By the time Chris Squire’s thunderous bass enters you’ll know it’s time to fasten your safety belt. When Steve Howe’s guitar enters the mix you’ll know you’re heading for a destination that isn’t on any map.
The title track consists of six song-suites which segue into one another. Like classical music, Yes introduce a musical motif and then develop that theme in interesting and complex ways. Yes has used this technique before, but not since Close to the Edge and Tales from Topographic Oceans has Yes used it so effectively.
What matters in music, of course, is emotion, the ability to stir listeners, imbue them with a sense of wonder, and tap deep feelings.
There are several passages in Fly from Here that are as intense as anything Yes has ever done. That is to say, there are some soul-stirring moments in this work. Sad Night at the Airfield, in my view, is simply magnificent. Here, the tasteful elegance of Steve Howe’s acoustic guitar is perfectly matched by Beniot David’s exquisite vocals. The song begins wonderfully, but things really take off near the end with a heavenly chorus and Steve Howe’s sublime steel pedal guitar work. Suffice it to say, Sad Night at the Airfield is one of Yes’ finest moments ever.
Mad Man at the Screens contains the kind of music Yes fans live for. When Yes are clicking on all cylinders their music has a focus, power, and intensity that is hard to match. This is certainly the case with the mesmerizing coda to this track, where keyboardist Geoff Downes provides the musical sparks that ignite the band, essentially taking some terrific music up to a whole new level.
What I love about this album is its freshness and vitality. The music is consistently good, but on several occasions it soars clear out of sight. There is not a single unnecessary or throwaway song on the album. The Man You Always Wanted Me to Be showcases Chris Squire’s exceptional vocal talents. His innate musicality and sense of counterpoint harmony contribute to many thrilling moments throughout the album.
Steve Howe is a guitarist in a class by himself. His solo acoustic piece, Solitaire, is everything Yes fans and guitar aficionados have come to expect from him. It is a gentle, warm, and tasteful piece that brings out the natural beauty and magic of the guitar.
I’d be amiss if I overlooked Alan White’s contribution. White is to percussion what George Harrison was to the guitar. In other words, White is not the flashiest guy around, but he always plays great and he always provides just exactly what the music needs. The tandem of Squire and White provide Yes with a peerless rhythm section gives the music on Fly from Here a sense of forward momentum.
Fly from Here concludes with Into the Storm, a song that combines Yes’ cosmic approach with some self-deprecating humor. The song exhibits all the ingredients that make Fly from Here such a winning album: wonderful melodies, a pervasive sense that the band members are having fun, and musical passages that consistently take off in unexpected but exciting directions.
Fly from Here is the freshest, most exciting, and confident music Yes has made in decades. Newcomer Benoit David earns his Yes wings by doing such an unexpectedly fantastic job with the lead vocals. Ditto Trevor Horn and Geoff Downes, who have returned to the Yes fold after a 30 year hiatus. Fly from Here, like the best of Yes’ music, is a grand musical adventure that includes many spectacular soundscapes and thrilling musical vistas. Bravo, gentlemen
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