The greatest Dream Theater concert on Blu-ray

Dream Theater 'Live at Budokan' is one of a handful of concert DVDs that continues to wow me completely. On 5 October, 2004 at the peak of their abilities, Dream Theater played at the Budokan, Japan. Although eight years ago and since then they have had other concert DVDs like the majestic 'Score', this is their landmark concert High Definition DVD. Now that it is available with improved sound and visuals on Blu-ray, I thought it high time to give coverage to these giants of progressive rock metal.

I love watching live music and have been fortunate enough to see Dream Theater play in Brisbane, Australia and Auckland, New Zealand. This Blu-ray is possibly as good as it gets other than being at their concerts. Indeed some may say it's better. At least in the comfort of your home you can manage the volume to what suits you plus have close-up views that only binoculars could achieve. (I make this comment as the Auckland concert was excessively loud and at times there was possible distortion.)

Back to this Blu-ray which is most beautifully crafted and meets all my requirements for a perfect concert. i.e. great sound, crystal clear visuals, a massive selection from their discography plus additional long instrumental breaks with the camera following the person playing the solo. (It always frustrates me when the drummer plays a brilliant fill and the camera man zooms on the vocalist who is not even singing. This fortunately doesn't happen on this recording because Mike Portnoy, the drummer, and John Petrucci, the guitarist produce it.) Clearly Dream Theater have projected their creative and hard-working ethic to the production values of this Blu-ray. This recording has been carefully thought through, even to the placing of the cameras for excellent closeups for each member. The Blu-ray is full of positive surprises and features; the range of song material to the ability to show the lyrics on screen.

The DVD was previously unsurpassed in sound and video quality. The Blu-ray version is crisper - yes, the colors far more vivid and richer and what I particularly noticed was the shine and sparkle on items like the Sabian cymbals. You notice small details like the glint on wedding rings, the reflection off Petrucci's guitar. It's these details that take an already brilliant high definition DVD and makes the viewing experience even more impact full. I was taken aback as to how beautiful the primary color lighting looks on Blu-ray. This is an amazing quality recording. 

Photos of my TV screen showing the Blu-ray. This gives some indication of the clarity and colour in spite of the obvious loss of photographing a TV screen.

Yet I did not repurchase this for a visual improvement as I had thought my existing DVD copy was great. I bought this for the DTS HD Master Audio and the sound improvement is significant. Referring to 'As I am' the opening track of the concert you immediately notice a  significant improvement in the bass levels. The opening bass note of the first bar is strong and resounds with a power not experienced on the 5.1 sound. 

Overall there is a greater richness on the Blu-ray as you hear the growl and warmth of Myung's bass  together with warmth of Portnoy's toms. There seems far greater dynamic range with the bottom end of both the bass guitar and the bass pedal far more forceful. My sub-woofer gets a real workout yet the high range notes of the keyboard still ring out. There is greater separation with no difficulty to hear all four instruments and vocals. The many rapid unison guitar and piano lines over Myung's bass is wondrous. In Petrucci's solos you can hear the subtleties of tapping plus string wrenches. If anything the sound detail also shows their flaws so LaBrie sometimes doesn't quite hit the note, but after a marathon two hour fourty-five minute concert, I am not surprised.

For those who have woken up a decade after he was already one of the world's greatest prog-rock drummers, this concert is a Mike Portnoy showcase. (Mike Portnoy is sadly no longer with DT but that is an article in itself.)  Disc two has all the extras including the Portnoy solo and the Instrumedley - which allows you to focus just on Mike for a monstrous drumming display. That doesn't mean there is no solo drumming in the concert. Far from it! You're in for a surprise as the keyboard drum battle during 'Beyond this life' is like an added drum solo. I found this the highlight of the opening barrage of 3 songs - Rudess and Portnoy seem to have such fun and Portnoy gets to inventively show off what every little cowbell, percussion and timbale sounds like on his enormous double set of drums. He really shows how musical he is as he copies Rudess's keyboard lines on the kit.(Of course a few blizzards of bass drum bliss are effortlessly displayed throughout!)

A warning to classic rock readers. If you are averse to metal, this concert may be an acquired taste. The first twenty minutes of this concert are some of the heaviest moments of synchronised Dream Theater mayhem; the end of 'This Dying Soul' shows the most frighteningly fast unison lines of Petrucci and Rudess. Mesmerising! Portnoy is so solid as he segues from one time signature into the pounding grundge time midway through 'This Dying Soul' - makes you want to bounce with LaBrie as well. As LaBrie states 'We have one hell of a show coming at you, this evening'. At this stage of the concert you're only two songs in and sixteen still to come. As on any DT creation you'll see why Petrucci is arguably the most technically gifted rock guitarist in the world today. Combined with Myung, Rudess and their powerful vocalist, LaBrie, this is the benchmark of prog metal virtuosity. If you like intense, inventive heavy rock music that requires repeated listening, this is a wonderful value Blu-ray - brilliant!

Flying Colors - vibrant, melodic rock with a progressive twist

That familiar Amazon parcel has arrived! What will "Flying colors" sound like...will it be worth it? Many love it, some are sceptical, some slate it. Will there be sufficient guitaring from Steve Morse and will Mike just be a wallflower?


I hurridly rip open the packaging, grap the CD from the digipak, place into the player and sit back. Seventy minutes later my initial surprising journey is over and I am smiling. This is good. Really good. Wonderful vibrant, melodic rock with a progressive twist from my favourite musicians - Mike Portnoy, master drummer, music organiser with his long-time keyboardist buddy, Neal Morse, composer extraordinaire, singer and instrumentalist who are joined by the legendary Steve Morse, guitarist from Deep Purple with his long-time bassist buddy, Dave LaRue. And then top notch vocalist, Casey McPherson with his contemporary nuances and appealing falsetto leads the way on this vocal album.

                                        Flying Colors site  
             The amazing iGuitar Magazine contains a great Morse video interview. 


It's five days later and all I have listened to is "Flying Colors". This album is catchy with very strong melodic hooks on every song. The emphasis is on tight song structure and strong vocals with harmonising in every chorus - but hey I hear you asking what happened to the virtuoso musicians? No worries - they're all playing, contributing and adding their craft with many structured instrumental interludes in which to shine. 


What is encouraging is how carefully crafted this album is - this is not some supergroup sitting down and playing a few covers and jamming their way through. Everything from the graphics to the impeccable production by Peter Collins (Rush, Alice Cooper,Bon Jovi) , thoughtful song order and actual compositions show that this is no fly-by-night project. I know from their site that this took an initial 9 days, some work while they went their separate ways and then another 4 days together. Quite amazing that all up in less than a month together as musicians this album was produced. 


The sounds and textures are colourful and varied in the genre of slow and medium rock, with two hard rock tracks bordering on metal that allow Mike to double pedal a tornado.The album ends with a mighty 11 minute progressive rock epic, "Infinite Fire". This ending showcases the depth of experience and musicality this group has and includes greater use of Neal's wonderful keyboard organ sounds in unison with some of Steve's most blistering guitar work. The use of odd-time signatures, slower emotional sections building to the strongest vocal chorus on the album finally breaks into the multi-layered vocals of "Seasons and times". This gives me goosebumps each time I listen.  


For Steve Morse and Dave LaRue fans take note - there is more Steve soloing on this album than what he played on two Kansas albums or on the last Deep Purple album, 'Rapture of the deep'. Every song has a beautifully crafted Morse solo that to my ears had more variety and thoughtfulness than what I have heard from Steve in decades. I have never heard Morse sound so like Brian May as what he does on "Love is what I'm waiting for". Of course Dave and Steve know each other's playing like musical twins so their harmonic convergence and dissonance and timing is impeccable. Great examples where Dave struts his funky bass is on "Forever in a daze" and the thunderous riff on "All falls down". 


"Everything changes" is an excellent example of the group joining and melting styles. The song starts like a track off Steve Morse's "High tension wires", the vocals section are all McPherson's influence and then the bridge where Neal Morse sings is clearly his compositional style and Mike brings some monster drum fills and it ends with more of Steve's influence again. The way I have described this may sound like a patch work which is then a reflection of my ordinary writing skills as this is beautiful track. I write that this is beautiful yet this is one of the lesser tracks on the album. The opening "Blue Ocean" and "Kayla" are standouts plus the aggressive "Shoulda coulda woulda" with its concluding drum fest and "Infinite fire" best encapsulate this group.


I am encouraged to hear that "Flying colors" are touring Europe in September. Could a DVD release be possible that would include more material and a cover or two? The prospect is exciting.


I am confused when I read some Amazon reviews. Perhaps because this is not cutting-edge rock or outright progressive rock, many seem very critical. Did some expect a new Dream Theater or a more contemporay style like Coldplay? I am unsure and when reading their criticism begin to doubt my enthusiasm for this. But then I listen again and get caught up in the melody, drift into another place and that's what music is about. 


So lovers of vintage, well crafted melodic rock - including Queen, Beatles and Yes fans, fans of Steve Morse, Mike Portnoy's "Yellow Matter custard" , Transatlantic, Kansas, Styx, Kerry Livgren, Neal Morse's solo work, fans of Casey McPherson, give this a try - you may really be pleasantly surprised!

Tribal Tech 'X' marks the sweet fusion spot!

Do you like your electric guitaring challenging, out there and ripping with whammy wrenches? Like a funky, pumping bass over rich, intelligent keyboards and muscular in-your-face drumming? Then this is for you, but there is so much more. This is heavy jazz fusion with a bluesy progressive twist. Their style is unique but almost instantly recognisable when you hear their unison keyboard, guitar and bass lines - like an intense guitar-driven Weather Report. This description does no justice to these master jazz musicians who together melt and smoulder compositionally, who interact with an intuition of decades of playing together and vast experience with other bands. This is Tribal Tech and their new album 'X'. (Their last album was released in 2000!)   


Scott Henderson* is a guitar chameleon - changing colours and shades with each new track yet always his inimitable sound always comes through. That sweet distorted legato scream that funnels into the dirtiest of tones that shift with each bebop line - his playing is endlessly fascinating. Without a doubt Henderson is one of the most amazing guitarists on the planet. In the opening track, 'Mech X' a menacing Hendrix-like crescendo of sound develops which intrigued me and had me concerned that perhaps a new more chaotic TT style was emerging. I am pleased to say that an avalanche of thundering carefully crafted typical TT unison lines power through - this is a powerful statement at the beginning of the album.


'Got Faith 'N Phat' is a classic grooving TT track with Scott Kinsey's keys sounding so much like a Tower of Power horn section that I looked at the liner notes to see who was playing. Gary Willis's bass is stunning - pulsing delicately in places and then pumping. Each new track he seems more impressive. His choice of notes and articulation is superb. And when you think you've heard everything along comes his beautiful fretless playing on 'Anthem'. He is a monster and deserves wider recognition. (The fusion muso world certainly know who Willis is and he's played on Holdsworth's 'Metal Fatigue' and 'None to soon' and Dennis Chamber's 'Outlook' with Michael Brecker.)


Kirk Covington certainly gets round the kit - what I noted though is his choice of drum sound for each track and amazing cymbal work and sounds. I sensed that his typical muscular role although still evident throughout the album seemed to focus on supporting the compositions and interplay rather than making drum statements. I am not suggesting he is not supportive on other albums, but rather, in my opinion, that this is one of his maturest performances playing in the pocket with TT.


I loved the slow 'Palm Moon Plaza', a tour-de-force of Henderson guitaring sounding much like Jeff Beck, that builds with intensity until the repeated single guitar note over some rich beds of keyboard sound and then the delicate Kinsey piano culmination.


'Gravity' sounds like it could have been off 'Nomad', 'Illicit' or 'Face First' A tight ripper of a track that is less organic than some of the other tracks. That's not a criticism but rather an observation as I was thinking prior to hearing 'X' that this album may have been complete improvisation. I am glad it's not. It's a great album and up there with their best albums - although I don't think this surpasses what they have already achieved.


These are funny guys - you open the liner notes - and... I'll not spoil the fun. Needless to say all through this album and culminating in the announcement of 'Corn butter' the final track, you know they're laughing in a Zappa-esque kind of way.


I am happy - another Tribal Tech album to savour, to be enthralled, amused and entertained for a long time to come.


P.S. Please, please - we need a live DVD of Tribal Tech for the fan base outside the USA.


'Face first' (See -a great youtube taster of the group).


*Scott Henderson has played in bands with some of the greatest musicians including Joe Zawinul, Chick Corea, Victor Wooten, Jeff Berlin and Steve Smith. He teaches at the Guitar institute, won a number of Guitar Player awards including the best blues album with 'Dog Party' - which is pretty impressive for a jazz guitarist. His style is an amazing blend of Hendrix and Holdsworth with a wicked dreadlock twist.

A retrospective - Allan Holdsworth's 'Metal Fatigue'

Allan Holdsworth is without question one of the most influential and accomplished guitarists of the last 35 years. A legend, a perfectionist, a music pioneer. This is the guitarist who played with legendary progressive rock groups like Tempest, Tony Williams's 'Lifetime', Soft Machine, Gong and UK. He is the sound force of wailing emotion and power on Bill Bruford's 'Feels good to me' and 'One of a kind'.  Many great musicians, irrespective of whether they play guitars, drums or keyboard point to Holdsworth as the master. Back in the 80's Zappa, Santana, Phil Keaggy, Neal Schon and Van Halen all raved about Allan. Thirty years later and professional musicians are still in awe - just ask Alex Machacek, Steve Lukather, Virgil Donati or Derek Sherinian (who has played with many of the great guitarists including Lukather, John Petrucci, Al di Meola, Zack Wylde and Joe Bonamassa).


I have most of Allan's solo albums and main recordings with the bands already mentioned above. I love his playing on all of them even though Allan himself is dismissive of probably three quarters of his own discography, such are his perfectionist tendencies. To me and many other reviewers, even when a composition of his is ordinary, there is something that evokes both excitement and beauty listening to his playing. His playing is often lauded because of his incredible speed and dexterity - but there are more important attributes that makes up his unique sound. His smooth tone combined with the choice of notes and bends gives the guitar an organic sound like as if the instrument has a singing voice. This combined with shimmering bell-like chords presents a unique guitar aural experience that etches patterns on a listener's mind. It's an acquired taste that soon has you longing for more.


So as a retrospective I am going back to the early days of his solo career in 1985 to the album 'Metal Fatigue'.   This may be a quarter of a century ago, yet this album is as fresh and mindblowing as when I first listened to it. I realise that have always been 'in love' with this album. 


Since its release I cannot think of another album that demonstrates the ability of a guitarist to squeeze, wrench and create the wonderful tones that Allan Holdsworth does. This demonstrates how a whammy bar in the hands of an artist can cajole and caress emotion laden sounds from the electric guitar. What Van Halen and Vai have done with the whammy is fun and impressive. What Holdsworth has achieved is artwork of a master. 


It is a short album but four of the six tracks are arguably some of the finest fusion-rock recorded. I use this term loosely as an attempted label for the reader who may not have heard of Allan Holdsworth. This music is hard to define - far too complex for the label rock, yet too distorted and straight to be labelled jazz. 

If you love something then you savour all aspects, so even the striking Francois Bardol artwork of that Judgement-day scrap heap reinforces the album title. The blue neon rays across the cover and Allan's photograph are all supportive of what makes a listener treasure the artistic product - which is more than just a recording. 


I love the production and although AAD, it is a crisp, rich recording. I still think the quality of the drum recording is the best on this album out of all of Holdsworth's 80's and 90's albums. Both Chad Wackerman and Gary Husband are incredibly inventive and adventurous in their respective tom and cymbal work yet supportive of song structure. This album introduced me to these two wonderful drummers and to the phenomenal bass work by Jimmy Johnson and Gary Willis. 


The opening twenty-five seconds of the album are so startling that after many repeated listenings I still have a wry smile and marvel. You are assaulted with an aggressive riff of other-worldly guitar sounds which is then joined by Jimmy Johnson's in-your-face bass and Wackerman's drums. This mesmerising opening leads into a strangely beautiful song with lyrics that perplex sung by Paul Williams.



"Look in my eyes and you will satisfy yourself
So many lives I can describe
Look at the picture of the sanctifying light
So many words to justify


How long? How long can this go on? How long?
It's heavy metal fatigue.
It's heavy metal fatigue."



And as Williams finishes the line with 'How long?' so the opening riff crashes in once again. That opening track finally comes to a blistering halt and the sublime sounds of a person's laughter in a pub juxtaposed against the achingly mournful guitar chords are as gentle as what the opening track is aggressive. 'Metal Fatigue' into 'Home' is a triumph. And the amazing journey continues into 'Devil take the hindmost', a Holdsworth tour-de-force. This track more than any other shows Holdsworth's legato style as the notes cascade off his finger tips in a powerful torrent. 


There are Williams's strong vocals on two of the tracks providing some variety and intrigue but most of the time you are waiting for the guitar to be unleashed. The solos throughout are powerful and beautiful. In some ways it insults Holdsworth's ability to say he 'plays solos' as the guitar is interwoven throughout - a tapestry of sound. Listen again to the first four tracks and realise that no keyboards or synths are used - the wonder of Holdsworth is his stunning chord work that creates this tapestry of sound. 


Indeed the heart of the album is the 14 minute 'The un-merry-go-round', an intricate suite of music with repetitive guitar and drum rhythms over a bed of keyboard sounds played by Alan Pasqua (ex-Lifetime, and the rock group, Giant). Over these rhythms we have the initial crying of the guitar which leads to a lengthy Husband drum interlude - some would say this is a solo but this drum piece is integral to overall composition as it prepares you for the next section. The composition then moves to a slower, gentler ebb and flow leading ultimately to Allan's guitar sweetly soaring. The final section brings in a more sombre mood and the drums build connecting back to the initial timing of the piece. Finally you have just the swell of guitar and the journey ends.


All the compositions bare repeated listening, including the lighter 'In the mystery' and 'Panic Station'.  


For guitarists out there, if you have never heard a Holdsworth album - this is the album to buy. Exciting, beautiful, emotion-laden and so melodic - this is an amazing album that has stood the test of time.


(For any of his earlier recordings, I highly recommend 'Feels good to me' and 'One of a kind' where he plays in Bill Bruford's band with Jeff Berlin on bass. His best progressive rock outing must be the debut album of UK and other solo albums worth getting are 'Secrets', 'Sand' and 'Sixteen men of Tain'. His best jazz offering is the overlooked 'None too soon' with the recently passed away pianist Gordon Beck (friend of Allan's), Gary Willis on bass, and Kirk Covington on drums).

Derek Sherinian's 'Oceana' - quality rock fusion

Firstly thank you Mr Sherinian for being so prolific in your output. You do provide your audience with a wonderful range of different styles to listen and choose from - Planet X, Black Country Communion, solo metallic insanity to this quality rock fusion offering.


Although much of this material may sound derivative - a little like a Jeff Beck album, a little like a rocking Toto instrumental album, or maybe a Los Lobotomys outing, there is not enough of this style of hard fusion rock played by quality players. The compositions are structured and never too long to invite meaningless wandering. Even on first listen I found these catchy and stirring in the style of rock fusion.

After the first three tracks I was already relaxed knowing that more was to come. Firstly just listen to the quality of the recording and hats off to Simon Phillips for once again knowing how to record and mix this intense fusion. How do I describe the overall sound other than Simon Phillips achieves a warm, rich mix without any loss of clarity or punch. And then if that wasn't enough, he is the master fusion rock drummer. Interestingly he plays the same monster 7/8 'Space Boogie' drum pattern that he played for Jeff Beck on the 'There and Back' album on the second track of Oceana, 'Mercury 7'. This is accompanied with impressive/breath-taking MacAlpine guitaring. As this is Simon Phillips recorded some 21 years after his Jeff Beck recording, the drum mix is so much better. (I'm glad I've got the album for this track alone).


The opening 'Five Elements' is a scorcher with a wonderful organ backdrop behind some menacing MacAlpine guitar sizzle. This is probably the best track of the album which bridges to some unusual Sherinian jazzy piano before returning to the menace. Steve Lukather plays on three of the tracks and the quality shines through with wonderful interplay between spacey keyboard sounds and Lukather's guitar tones. 


'Ghost Runner' for all its great playing is too derivative of Beck and Hammer and particularly 'El Camino Diablo' which starts promisingly and then rips off almost note for note the exact riff from 'You know what I mean' on Beck's 'Blow by blow'  album - it's even in the exact key. Maybe I am missing something but this was definitely too close for comfort with the Jeff Beck classic and Jan Hammer tones and runs (although outdoing anything Jan did!) I'd have preferred them to have just played a great Beck cover like they did on 'Inertia'. Nothing wrong with a cover paying tribute.


This is a guitar festival of maestros - Tony MacAlpine, Steve Lukather, Steve Stephens, Joe Bonamassa and Doug Aldrich all backed by the legendary session bassist Jimmy Johnson (primary bassist for Allan Holdsworth, Michael Landau and James Taylor). These guitarists all work to support the overall album rather than trying to win a guitar battle - highly commendable. And the tracks are striving for that something more. Using the second last track as an example, 'Seven Sins' a dramatic building rock outing finally goes into a bridge where Derek plays a magnificent solo that culminates with the rest of the band coming in however it returns to the light melodic head and never seems to regain the intensity. The album ends with 'Oceana' a track that could almost pass for a Joe Satriani ballad other than this has more richness with combined keyboard, bass and guitar lines.


Overall this seemed like the sister album to Derek's earlier solo album 'Inertia'. It is a good 4 star outing because of the quality of musicians,compositions and recording and because of the unselfish supportive nature of Sherinian. This may be a solo keyboard album but he has produced a stellar rock band offering. Yes, you hear the entire gamut of jazzy piano to B-3 Hammond organ and spacey keys but always to intertwine with lead guitars producing rich tones and sonic delight. 


For Sherinian, Lukather, Phillips, Jeff Beck and rock fusion fans - don't hesitate - this one you'll return to for many enjoyable listens. I would pay 'top dollar' to see a tour of these legends! Which means I'd fly to Sydney from New Zealand for this one. What about a tour 'down under' to Australia...? 


PS: Read an excellently written review of this album. See Raffaella Berry's review in the Dutch Progressive Rock Page. This is incisive , punchy writing and my appreciation for this album increased. Wish I could write like this!

Want to try a little jazz fusion?

This review on Chick Corea Elektric Band's 'To the stars' has been written for those who like rock and progressive rock but cannot find anything interesting in jazz. This album is then for you.

But first an explanation to this strange slant on this review. My musical journey began as a child with listening to Simon and Garfunkel, hymns, bagpipes and later in my teens, The Beatles and Queen. Yes, I know...a weird combination. All these albums opened my ears to new sounds and musicians. After thinking that the group Kansas were the most amazing musicians I had come across till that point (then 1979), a friend asked me to listen to Al di Meola and Steve Gadd on the album 'Casino'. He then introduced me to Bill Bruford and Allan Holdsworth. I started dabbling in other genres like the fusion world of 'Return to Forever'. Initially I was very puzzled and could not get into albums like Chick's 'Three quartets' but the music bug had got a hold of me.

Not surprisingly many Chick Corea fans hate this album and find it clinical and with little swing. That's because it is often closer to an instrumental rock album - what I refer to as extreme fusion jazz. In many ways this is like some of the earlier 'Return to Forever' and 'Mahavishnu Orchestra' sounds. What is common to all is uncompromising, excellent musicianship. This album showcases five top music legends who have played together at various times for the last 25 years. The intrepid leader, composer and master keyboardist, Chick Corea showcases his talents and those of Frank Gambale, the sweep picking electric and acoustic guitarist, Eric Marienthal, top alto saxman, John Patitucci, the most sought after all-round jazz bassist for a quarter of a century and finally the greatest fusion drummer of the last twenty years, Dave Weckl.

This album rips open with 'Check Blast' a flurry of intense drumming, piano stabs and exchange of a few bars of short sharp solos from each of the five that culminate into some 'unplayable-by-most-others' in unison riffs that shift in and out. Each piece is connected by what is referred as a 'Port view' of edgy keyboard bed of sound. This is a concept album telling the story of a science fiction saga and Chick's inspiration. For proggers the idea of a concept album that has each track linked is certainly closer to their world.

The following tracks 'Mistress Luck - A portrait' will probably be a challenge to rockers as here the swing and samba rhythms come to the fore. I will say though if this is distracting, focus on the guitaring of Gambale who duets his way through and shreds during the 'Mistress Luck - The party'. However it is tracks like these that will introduce you into the delights of jazz and marvelous musicianship.

'Johnny's landing' has a cool sax dominated groove that reminded me very much of a 'Weather report' track all over a delightful percussive Weckl tour-de-force. Just when it seems a little bland, there are some amazing dark aggressive runs that builds to a long Gambale solo and later an organic Marienthal solo and more combined lines with sax and guitar together ending with Weckl at his best doing what Peart, Bruford and Portnoy dream they could do.

'Alan Corday' is in the style of latin infused jazz with more acoustic sounds. This will be a more challenging listen to prog rockers. So too will be the 'Hound of Heaven' another 'Weather report' like calypso-edged track with African township sax sounds. It has a mean fusion distorted Gambale solo that will be of interest to rockers although I think would have fitted better on acoustic. Be patient, more is to come.

'The long passage' is majestic, complex track that builds with some intriguing twists and turns along the way including some choral vocal sounds. A number of guitar sax combined lines keep linking the keyboard interludes as the musical tension slowly increases. Marienthal plays a brooding, challenging solo that will disturb which is followed by Gambale and ultimately this all combines.

`Jocelyn - The Commander' begins like a soundtrack to a movie with unusual sound effects behind a repetitive piano and rhythmic Ravel-like motif. The drums and sax weave into the mix. Gambale then plays one of his greatest solos that ultimately soars with the rest of the band. The album ends with a crescendo of musical themes coming together followed by captain Chick alone on the piano.

I love the sound production on this album - the way all instruments can be heard even during the busiest and loudest pieces. Weckl's drumming is particularly well recorded and I prefer his contribution here to his often over-playing on his solo albums.

Here is an album that grows on you with each repeated listen. If you've not listened to jazz fusion before, give this one a try...and if this doesn't work at least go back and listen to the original masters on the majestic remastered Return to Forever 'Romantic Warrior'.

Planet X - extreme progressive rock - 'Live from Oz'

Awaiting with eager anticipation for the delivery of Sherinian's new album, 'Oceana',  I listened to the Planet X 'Live from Oz' again. This may have been a bad idea as this is such an amazing live rock instrumental album it puts much of Sherinian's studio output in the mediocre camp. What it did was have me revisit a review I did on Amazon a number of years ago, revise and share it here.

This album deserves a listen! If you like progressive rock with a metal twist then hunt this album down. It is an intense exciting roller coaster ride of complicated and stirring compositions. It has an energy and aggressive drive throughout. Much of this is probably because it is live as these same compositions on the studio album are not as convincing. The recording is outstanding for a live recording and credit for this must go to Simon Phillips (producer mixer and drummer extraordinaire) who did the mixing. 


This album is of a super group that is still to be recognised - Derek Sherinian (Black Country Communion, ex-Dream Theater), Virgil Donati (monster session musician) on drums, Tony MacAlpine (solo artist and session muso) on guitars and Dave Larue (Steve Morse band) on bass. Everyone of these musicians are at the top of their craft, seasoned and admired and (employed!) by other musicians who know how brilliant they are! Clearly Vai knew who he needed to back his DVD 'Live at the Astoria' as both Tony MacAlpine and Virgil Donati were his number 1 support musicians. 

John Petrucci, Steve Morse, Mike Portnoy and now Derek Sherinian all knew who would best fill the bass role for their respective solo efforts, so although not part of the Planet X band as such, Dave Larue is the special guest bassist for this tour and his note for note runs that follow Tony and Derek are more complicated than your average rock lead guitarist can play!

Okay - so the word "complicated" is used. Yes, this music is complicated and intense. You won't be humming it as you go for an Sunday afternoon stroll. But that's what's so compelling about listening to this album - it is an andrenalin rush of power rock fusion. Admittedly the compositions sound quite dark and live in the world of minor keys but the powerful interplay and angular time signatures that chop and change keep you riveted.

Another reviewer said that the poor drummer had to count throughout this album and couldn't just groove in a straight 4/4 . From what I've heard Virgil thrives on odd time signatures - it seems to come naturally and his bass double pedal seems to be in sprint mode rather than marathon groove. From an interview I've read, the mighty Simon Phillips, who mixed this album and who is still one of the world's great drummers, said he was blown away by Virgil's playing and sometimes couldn't even contemplate playing what Virgil did effortlessly. The drumming is marvelous and gives the ordinary tracks an edge. For drummers out there - forget what the music is like - you can listen to this again and again at Virgil in top form. Listen and marvel at his strength and stamina as this is all from one show on June 13, 2001.

I've listened to Tony since his first solo album and his "Maximum Security" album is still listed by many as a guitar landmark album from the 80s. "Live in Oz" shows all Tony's chops but especially his Holdworthian whammy bar nudges and legato playing. This is what gives this album a more fusion feel than straight-out rock instrumental. I am amazed by Tony's guitaring here, far more varied than what I've heard on the CAB albums. The solos here are quite organic and have space and in places beautiful rather than always speedy. Don't worry there is sufficient shred as well on this to make most other so called great guitarists hop for cover!

Derek is remarkably supportive on this live outing - yes, he has exchanges blistering lead lines with Tony on "Pods of Chance" that sound more like duelling guitars than keyboards - but overall I was relieved to note that the main solo instrument on this album is Tony's guitar. Yes, Derek plays all the time but filling the canvas with waves of sound over which Tony wails rather than trying to outdo the guitar with keyboard antics. He is the Jan Hammer of today without needing to play everything louder or faster than everyone else.

Perhaps the one word that captures this album is "exciting". It is no musical masterpiece but rather a showcase of phenomenal skills that makes one laugh at their audacity! The rest of us mere mortals on planet earth can enjoy and applaud the brilliance of Planet X!

Soaring, joyful progressive rock

Yes, this is easily the most uplifting, joyful prog rock concert I have had the privilege to watch on DVD. Here are a group of mature, brilliant musicians enjoying what they do in the intimate venue of Shepherd's Bush Empire, London. And the packed crowd laps up every moment that lasts for over three hours. This is no cold, clinical performance but rather a warm evening of smiles of musos and interaction of the crowd. 

Neal Morse sings with his usual passion with nods and shouts of encouragement as Mike Portnoy flays away with a flurry of cross sticking. Watching the interaction between Transatlantic is worth the price of DVD alone. Pete Trewavas on fat bass (plus harmony vocals), stands next to the drums, and not only feels the pulse of the bass drum, but throughout the show turns to face Portnoy during intricate passages. Listen to Trewavas's full, rich bass tone particularly on "All of Above". Guest, David Gildenlow, sings, fills in on keyboards, jumps and power chords his way adding to the enthusiasm, while Roine Stolt, seems serene on the most intricate guitar riff. The great camera work catches all these interesting glances, action and band spontaneity. (No artistic flourishes, intrusive fades or flash camera work - but rather good, clear, crisp footage.) 


The concerts begins with the 78 minute opus 'The Whirlwind". From soaring melodic guitar lines to full throttle band with organ, keyboards, overdriven guitar and harmony vocals, this contains both light more acoustic sections to dark almost prog metal interludes. Overall this is accessible music with everything from styles of Yes, Kansas to Grateful Dead jamming and Crosby, Stills and Young harmonising by everyone in the band. 


Although everyone contributes to the composition, Morse seems to have had the biggest influence and certainly the lyrics are his. From the excellent 'interview' and 'Behind the scenes' extras on the second disc, Morse explains how it was Portnoy who saw all the separate compositions and gave musical direction for them to be moulded into one piece. Likewise Portnoy is enthusiastic about the emotion and general message of the Whirlwind and says he doesn't think they are explicit 'Christian' lyrics in his answer to the reporter. They may not be explicit yet they are a resounding declaration that points to seeking the giver of life. As a taster read the following key sentences from the lengthy 12 part Whirlwind lyrics.


"And I know that we are more than dust and ashes
And one day we will know what we have known"


"There's a reason you're here, this is not by chance
When the giver of life is asking you to DANCE!"


We're on trip in a foreign land
Reach for home, where the kingdom stands
There is the key he has given you, search it out
All who seek will find the truth!


Certainly this amalgam of soaring prog rock is a stirring and appropriate vehicle for these words. Ironically Neal Morse and material like this is not known in the Christian market. Irrespective of your spiritual perspective, this DVD is primarily a body of great music. If you already listen to the likes of Dream Theater, Spocks Beard, Pink Floyd and Kansas - you'll love this. But this is as accessible to those who don't normally listen to prog rock. If you like light rock or watching musicians play, this will be a fascinating experience that will grow on you and introduce you to a new genre.


It is worth mentioning that if you are not familiar with the guitaring of Roine Stolt, then you are in for a treat (his singing is also beautifully distinctive). The melodic lead lines are more in keeping with a David Gilmour, Kerry Livgren or Brian May approach than of the Satriani or Petrucci intensity. Although this is no ways as heavy as a Dream Theater concert, this is still a Portnoy extravaganza as he shouts and conducts the crowd while completing the drum fill with his right hand (you won't be disappointed)! This concert happily seems to go on forever, which for lovers of this music is a good thing. This is simply Epic, with a capital 'E'. 


PS: I really like the transparent hard plastic packaging of the DVD case. Definitely watch the behind the scenes of the tour as there are great excerpts from most of their concerts including many surprises. Look out for what they do and sing on Mike Portnoy's birthday. I'll try not give away too many surprises but from surfing to singing 'Smoke on the water' these guys were having fun!

A musical triumph - a rock opera Christian testimony

Testimony is a complex, powerful rock opera of violin, viola, saxophone and pedal steel guitar, intermingled with fiery Fender guitar rock, Latin-tinged acoustic guitar, classical flute, tight vocal harmonies over no-holds bar drumming. I try in words to capture just the first 45 minutes of Neal Morse's Testimony live concert. This is heartfelt, passionate rock - with every genre from progressive to pop intermingled in this amazing 2003 live performance - the testimony of Morse's journey into the light. 

It has been 5 years since I bought this DVD. This is a concert to behold and each time I go back and listen my spirit is lifted - there is something deeply attractive about this rock opera - it's a combination of the powerful music motifs and the emotionally rendered personal message of spiritual revelation sung by the multi-talented, composer, singer, keyboardist guitarist - Neal Morse. 

Actual running time is 255 minutes of a riveting performance of eight musicians. Most of them, other than Morse and Portnoy, I had never heard before - but that just indicates how many multi-talented unknown professional musicians are out there. Eric Brenton was particularly impressive and takes a pivotal role as lead guitarist, violinist, flautist, pedal steel guitarist and then throw in some mandolin as well! 

All the musicians seem engrossed with the music and the fun element is palpable - these guys enjoyed themselves. It is infectious watching, so much so that we have a break out of dancing during the hoe-down with an incredible Morse acoustic chicken-picking guitar battle with Breton on violin. Yes, I forgot, in "Sing it high" there is even a blue-grass section like a Dixie Dregs workout except Morse also intertwines country tight vocal harmonies as well. Yes, the Christian message is strong, and Neal's life story comes across very clearly with his unaffected, annunciated vocal style that is influenced more by the Beatles, Beach Boy approach than anything from this century. For some the lyrics will attract and I realise from reading reviews on Amazon that also repels some. An observation is that Mike Portnoy (Dream Theater), the monster drummer that sets the stage alight and drives much of the musical excitement in this concert, is obviously attracted enough to the music to play with his usual enthusiasm and intensity - irrespective of the message.

I think all Christians who have a bent towards contemporary music will find this DVD strongly resonates with them. It's a powerful musical message that tells all our stories in a way - even if this is Neal's personal story. You are missing out if you haven't heard Neal Morse's work. Clearly he has taken over the mantle of Kerry Livgren in keeping the message of the eternal alive in progressive rock .

Some of this strangely reminds me of the musical `Les Miserables'(a rock version perhaps) in that there is a story over repeating musical motifs that echo through this entire concert. Indeed there are three Overtures that begin the five parts. The wonderful variety means that when the story and quieter interludes just begin to lengthen you are jolted into the next part with intense instrumental pieces - this is never impromptu jamming but tightly structured. The breaks and accapella vocal harmonies that cut through frenzied playing is spine tingling - and when they move into "The storm before the calm" with the repeat prog motif from Overture No.1 you feel like cheering yourself. It is during this central prog motif that Portnoy is finally unleashed to play some of his most memorable ensemble playing. Even Neal is visibly excited as he bends over his keyboard to allow an unobstructed view of Portnoy's tom-tom theatrics that propels this repeating prog motif to a crescendo. Wow! 

Stylistically there are echoes of Kansas, Dregs, Pink Floyd, Yes, Beatles and Beach boys! A real musical blend but with an unmistakable melodic Morse stamp. The concert begins and closes with Morse singing alone just with acoustic guitar and then finally piano - his connection with the audience direct and engaging. This is a powerful and moving concert. 

Some DVD comments - unfortunately this is only available in stereo. I'd love to have heard this in DTS! Fortunately this is still a rich, well recorded concert; drums and percussion subtleties all coming through so you can still differentiate between the multi-keyboard, strings and guitars and splash cymbal. Camera work is above average and the overhead camera on the drums is something I wish we saw more often. There are no intrusive artistic fades instead an appropriate mix of wide shots of the entire stage cutting to close ups of musicians as they play key breaks or to visually highlight aspects of the performance. 

PS: And then there is disc two - where they come back on stage for a three track lengthy heavier 54 minute encore with Transatlantic tracks "We all need some light", "The light" and "Stranger in your soul". 


5 stars for great value, 5 stars as a musical statement and for excitement. The lack of 5.1 or DTS sound unfortunately prevents a 5 out of 5. It is still in my top 5 favourite concert DVDs.

"Crossroads" 20 year anniversary

I heard Eric Marienthal play live in Auckland in September 2009. I was expecting to hear a professional, experienced saxophonist - what I heard was so much more. His playing was both articulate and fluid with a range that I couldn't quite believe for an alto sax...and moreover what a humble, personable musician. Backed by the Rodger Fox big band, the evening was my big musical surprise of the year. Riveting big band charts - I think at least two from the Gordon Goodwin's Big Phat Band. An amazing evening and exemplary display of sax mastery.

What's this got to do with a review of Crossroads some 20 years before? Well quite honestly for many years I had dismissed Eric Marienthal as the smooth jazz influence that had weakened Chick's Elektric Band offerings. The disastrous "Light years" album was such a disappointment after their debut album that I gave up on Chick for a while. 

The first inklings that I had that Eric was far more than the musician on many commercial smooth jazz recordings was when first watching him on the Chick Corea Elektric Band Live in Montreux 2004 DVD. Wow, no soprano noodling at all but hard bebop lines to support the tracks 'C.T.A', 'Got a match', 'Spain' and 'Blue Miles'. This time it was the noodling of Gambale's guitar that seemed to interfere and Eric was masterful.

So there is a dilemma - who is the real Eric? I like to think after hearing Eric live that it's when he is playing live that the real Eric is heard. Yes, he always has a sweet tone, but live he rips it up and is adventurous. On the 20th anniversary of 'Crossroads' I can happily say that this album still sounds fresh and impeccably well-recorded...and that Eric blows away the cobwebs of most of his other solo albums. Why then does this studio album sound live? Simply because the musos played it live in front of each other when recording and the spontaneity shines though.

It does help that the best musicians in the world were there to play along with Eric. What an incredible lineup. John Patitucci is producer and the bassist through out. This is a drummers album of note - as has been pointed out by other reviewers; if you are partial to flat-out fusion drumming - then try and get a copy of 'Crossroads'. Terri Lyne Carrington is monstrous on the first track and plays like I'd imagine Weckl might have on a good day! Six of the ten tracks are played by the drum master Vinnie Colaiuta, who gets many opportunities to play out and even solo. Weckl plays on a track and Terri closes out. Keyboardists are the prolific Russell Ferrante and Chick Corea on three tracks. With three Ferrante compositions and one from Chick himself, no wonder this sounds like a mixture of an aggressive Yellowjackets and Elektric band album.

Yes, there are ballads and some pretty melodies but all eventually romping away to inventive, exciting compositions with wonderful playing by all. If you haven't heard Eric hit the high notes, the big notes and the adventurous lines, then this is the album to get.

Jeff Beck, guitar maestro - DVD review

Finally I have my own copy of this DVD and I was pleasantly surprised that this historic performance at the intimate Ronnie Scotts easily beats their amazing concert in Auckland. (I saw Jeff Beck (Link to excellent video on Drummerworld which shows an excerpt from this DVD), Vinnie Colaiuta , Tal Wilkenfeld and Dave Sancious rip through one of the most amazing one and half hours of spell-binding music when they played in Auckland at the end of their Australasian tour (3 February 2009). They pretty much covered all the songs on the Ronnie Scott set list although omitting `Space Boogie' and including I think a Tony Williams "Lifetime" track, that Tal seemed to lead.) Yet the DVD is even better because of three reasons:

1. The DVD allows you so close that you can see every action of Beck's playing (which even with binoculars I couldn't quite see at the concert)
2. There is greater variety in this concert in comparison with their tour as here there is the addition of soulful singing of guest artists. Joss Stone with 'People get ready', Imogen Heap with 'Blanket' and the driving 'Rollin'and Tumblin'' which provides opportunity for Becko to show his support and bluesy side.
3. This DVD records the historic magic of two blues songs sung and played by Eric Clapton and Becko...with Jimmy Page watching in the audience. Wow!

If you have only heard Jeff Beck then a live performance or this DVD, is a must. I had never seen Jeff Beck play before so was astounded to watch his unique style of brushing the strings with his thumb, caressing the whammy and combined with volume swells producing those tones that only he can do. As you'll see, he doesn't use a pick at all.

This is unique in that as far as I am aware this is the first full DVD concert of the drumming maestro, Vinnie Colaiuta (other than specialized Drumming festival DVDs). This intense rock fusion catalogue of Beck's is brilliant with its varied time signatures from reggae to poly-rhythm frenzy to showcase Vinnie's talents - but always within the context of the song and the music. Next to the diminutive figure of Jeff and Tal, Vinnie is a tall man and his enthusiasm, smiles and outright mastery capture and add to all the Richard Bailey, Simon Phillips and Terry Bozzio fills that we know from albums like `Blow by Blow', `Wired', 'Guitar shop' and the rest of the Beck catalogue. To hear Vinnie live is great - watching is an overwhelming marvel.

My only criticism of this DVD is that in the first few songs including 'Stratus', the camera work misses most of Vinnie's great fills. This is most frustrating and often the camera panned onto a watching Jeff or the face of a smiling Tal while missing sublime drumming. Fortunately this concert has a enough opportunity to see Vinnie at other times but generally the small venue meant that there are never great views of the drum kit. Fortunately this does not apply to the clear camera work on Jeff's fretboard.

Seeing the young Tal on bass melodically groove with these musos all at least 30 years older than her is a salute to the longevity of the music that we have come to know as rock fusion. There is a sense of togetherness and fun as they all interact and watch each other. Jason Rebello is literally out of the picture for the first quarter of the concert but later takes a more prominent role and takes a number of great solos.

As usual Eagle Vision have exemplary production qualities and the sound, 5.1 and DTS, is magnificent.

Jeff, doesn't speak much other than to thank guest artists and the audience at the end. He just plays his heart out. Hammering, tapping, wrenching and bending strings, Jeff shows how far he has explored where his contemporaries of that generation have never ventured. This best value DVD is an historic showcase that salutes the master guitarist in top form still playing as if there are no tomorrows.