Take a Latin Pebble

It is always good to see ELP numbers becoming jazz, rock or classical standards.

Or latin.

Even if this is a rather typical "starting from the source for never returning". The latter half is still good in it's own Al Di Meola way.

The McWizard of Keyboards

Minor luminaries such as Oscar Peterson, Art Tatum, Chick Corea, Glenn Gould, Keith Emerson, Bill Evans, Joe Zawinul, Keith Jarrett and Herbie Hancock come and go, but one keyboard artist stands head and shoulders above the rest. The genius of Scots home organ guru Eric McWhirter is renowned throughout the keyboard-playing universe, but for years, his very existence was a closely guarded secret.

Click your keys and read all about it here.

12 most bombastic synth solos of all time

Or at least 12 synth solos from different players.

Ivories strike gold

A rather to the point review of the American release.

If the name Keith Emerson doesn’t ring any musical bells, you may be too young to recall the heady days of progressive art rock when instrumental proficiency carried more weight than flashbulb image or red-carpet appearances. After churning out a succession of mediocre solo albums and critically acclaimed soundtracks, the keyboard’s greatest and perhaps most flamboyant player returns with “The Keith Emerson Band featuring Mark Bonilla,” a self-titled CD that stands proudly among his best work with Emerson Lake & Palmer.

Best of all, this version also contains an update of Barbarian, the piece that gave the first ELP album it's headstart. Or headblast.

god vs. god

What shall one say?

Except, of course, there really is no contest.

"The Art of the Duel", an original piano piece inspired by and dedicated to the two giants of piano prog rock: Rick Wakeman and Keith Emerson. Written and performed by Matej Hrovat, pianist and com...
"The Art of the Duel", an original piano piece inspired by and dedicated to the two giants of piano prog rock: Rick Wakeman and Keith Emerson. Written and performed by Matej Hrovat, pianist and composer from Slovenia who also composes and publishes electronic music under the alias "Aziraphal". Recorded at a live piano performance in 2006; directed by Boštjan Miha Jambrek.
More information and music at http://www.aziraphal.com and http://www.soundclick.com/aziraphal

Genesis - The Early Chapters

Being more often than not in a religious mood, it is time to take a second look at the early chapters of Genesis.

After having enjoyed them since 1973, and had the pleasure of attending two concerts in the 70's (one of the legendary Lamb performances in 1975 and one from the not quite as legendary And Then There Were Three tour in 1978), it was with poorly hidden excitement that I yesterday opened the new box set comprising the Peter Gabriel Years.

Besides getting the original five albums remastered in several sound formats, the bonus material was almost perfect. It is rare to get so good a mix of CD's and DVD's, of unreleased tracks, interviews and live performances.

Whether it is Gabriel performing like Jagger, great keyboard sounds, not to mention Steve Hackett - or just the visuals (and the Gabriel inbetweeners) - it is a blessing to see the real thing after the Genesis of the 80's and 90's.

The box set has received great reviews all over, even if there are some peculiar (or proverbial) things being said.

What is surprising is to hear Gabriel speak with fondness for The Nice, keyboardist Keith Emerson's first group before moving on to the hugely successful Emerson, Lake and Palmer. There's little denying the confluence of classical influences and Emerson's inimitable style on Genesis keyboardist Tony Banks, and he's always been a fine player; but early on, Genesis differentiated itself from many of its progressive rock cousins by being more about the song and less about the playing.

Well, listening to the albums one doesn't quite get the same impression (except from The Lamb Lies Down on Broadway).

Most pieces are structured around a lot of playing and has a rather loose "song" format, if one by that means verse/chorus/verse/chorus with just a few notes inbetween. Which is not early 70's Genesis at all. There was a fresh and fortunate time when the group was too many notes all over the place.

Genesis was in short not Gary Glitter. While ELP certainly had a lot of pure songs.

The real truth behind such comment seems to stem from the glorious tradition of praising Genesis while slamming their prog peers. With some it looks suspiciously like protesting too much, trying to be credible and cool, and at the same time keeping the cake and enjoying (the horror) prog.

So perhaps it is time to remind critics that other people has shown a lot more understanding, since the very early 70's.

Janis Schacht, Circus, September 1972:
Several months ago, Charisma Records ran a full-page ad with a picture of Keith Emerson and the quote claiming that Genesis were without a doubt one of the finest groups around and that Tony Banks was one of the best organists. There's a definite reason that Keith came out for Genesis. Like all smart politicians he realises that when the barriers are stripped down and the truth is out it pays to be on the winning team.

And the Box Set is a great prize.

Still Hall of Shame

Just to remind you all that one of the most innovative bands ever, pioneering stage acts and antics, sounds and furies, not to mention music and melodies, has not been inducted to the Rock' Roll Hall of Fame.

While there's still time for campaigning.

UK papers maturing

At least some are getting a lot more respectfull, as in this great interview from Monday about yesterday and today, not to mention the future.

There’s still, patently, an appetite to break new ground. But where did his original inspiration come from? “Where bands like Led Zeppelin and the Yardbirds were influenced by US blues, my roots go back to European music – classical and jazz. Music from people like Vaughn Williams, Shostakovich, Dave Brubeck.’

Aaron Copland was another influence and it’s interesting to note that not only did the American composer give Emerson one of the biggest hits of his career – 'Fanfare to the Common Man’ – but also the name of one of his sons. It makes a neat loop in the fabric of time that that son is also a musician!

“Yes, what we were doing was groundbreaking at the time – using mixed media, fusing different styles of music, using orchestras. We’d also do some mad things – like bringing in bag pipes.”

Revolutionary stuff. But has it become harder or easier to experiment does he think?” We’ve seen a decline in the power of record companies,” he says, “in that it was harder to get a demo made and then recorded. Now you can record it all yourself and even use the web to release it. I produced the latest album – and then went out and got a record deal.”

Perhaps it’s that ability to innovate without worrying about record company executives that makes his new album so refreshing. Certainly, Keith Emerson’s new collaboration with Marc Bonilla is a worthy addition to the discography of one of the leading keyboard players of the last 50 years.

Hopefully we may look forward to more.

While we're at it

It is rare to discover so raving reviews as the following. So raving in fact, that I am not sure if even I would be able to write it.

Not the least if one takes the Billboard context in consideration (even if it really is from All Music Guide).

"Known for their on-stage energy and full-force musical prowess, Live at the Royal Albert Hall is the farthest from disappointment a live album can get.

Each member of ELP exhibits his individual talents on this astonishing audio spectacle that doesn't let up at any point. Spearheading the 11 songs on the album that runs almost 70 minutes is keyboardist Keith Emerson, whose earsplitting synthesizer rumbles and squeals with devastating vigor.

His playing is loose and freewheeling, characterizing his devil-may-care style, and bursting with emotion. Equally forceful is Carl Palmer behind the drums, especially on "Lucky Man" and "Karn Evil No. 9" where he showcases both his subtle mechanics and his frantic arm swirling.

On guitar, Greg Lake fills in with some stellar bass work, whose impact can be felt even above the grandiose of the other two. The songs that work best live from ELP are all included, amassing all the ardor and extravagance surrounding this threesome.

In front of their home audience in England, they really steal the show with a nine-minute outpouring of "Tarkus," as the combination of all their talents are fused together in instrumental wonderment. Even better is the grand finale, a 14-minute medley of "Fanfare for the Common Man," "America," and "Rondo."

A truly volcanic display of keyboard driving from Keith Emerson sends this intense montage into a frenzy, ending the album on a fierce high. Live at the Royal Albert Hall has the grandfathers of progressive rock sounding like sonically intoxicated teenagers."

Some of us get intoxicated just from reading the review.

Review revealed

Again, as expected.

European tour?

Seems from rather good sources (like Keith himself) that he may tour Europe early next year.

Hopefully he does not mean Bosnia and Slovakia, only.

Grand Kazan finale

They're all here, Eddie Jobson, Marc Bonilla and Keith Emerson (on harmonica) - performing for 200 000 people in part two of the Grand Finale (part one is no longer available - so do hurry).

Great to see that Marc has such a prominent role.

This has to be released on DVD.

Some more inside info here - sound troubles led to no Lucky Man solo, what a bummer.

The Clueless losing out?

Such a critic makes one almost believe in the human race (which you sometimes must).

Psychodelic Soul '67

There are still gems out there in the TV-archives, even if it sometimes just as well should have been radio.

Just take a peep at Georgie Fame Psychodelic Soul show from late 1967, recently put on YouTube. Perhaps in memory of what was possible in Prague before the tanks rolled in 40 years ago.

Hopefully more material will surface, and not from the former Eastern Bloc only. And with a tad or two more modest visual effects.

Alan Price on organ, BTW.

Dentist drill demolition

Afraid of going to the dentist?

Listen to some great advice from Jeff Wilkin here.

How to avoid the grinding sound of the drill?

Man, that drill — there is no sound like it in science or nature. If the science-fiction boys ever decide to do a movie with mosquitoes the size of basketballs, I guess they’d sound something like that drill. And once the drill has found its mark, and jackhammers out bad tooth or old fillings ... well, those pleasant sounds used to bounce all over my head.

No longer. Whenever dental fireworks are planned now, I take consultants with me. Keith Emerson has made the trip. So has Chrissie Hynde. On Tuesday, it was John Kay.

They’re musicians — musicians associated with loud, rock’n’roll music. I’ve learned that earfuls of “Karn Evil 9,” the long and pretentious keyboard and percussion piece blared and blasted by Emerson, Lake & Palmer during the early 1970s, is the perfect antidote for any drill work. A CD goes into my portable player, earplugs go into the ear and I receive a loud audio welcome back to the show that never ends.

I know the drill is there, but the sounds of demolition can’t compete with Emerson’s Hammond organ. Seems like the louder the music is, the quicker the procedure goes. And if you are following the lyrics or the beat, you’re not thinking too much about the sound and fury below the ears.

Personally, I can vote for this also being usefull in other circumstances.

Like when wanting music to really listen to.