At The Edge of
Light is Steve Hackett’s 26th studio album. The multifaceted guitarist continues
to fascinate with a set that brings together progressive rock, pop, classical music,
and world music.
The album opens with a high energy piece titled “Fallen Walls and Pedestals,” where Hackett showcases many of his influences: Eastern strings, superb progressive rock guitars and heavy drums.
Next, Hackett continues with the song “Beasts in Our Time,” where the listener is treated to rich, dramatic and dream-like cinematic symphonic moments intertwined with peaceful acoustic guitar sections, a sax solo and a memorable electric guitar wild ride with outstanding symphonic parts.
Track 3, Under the Eye of the Sun” features ornate vocal harmonies, fast-paced rock, epic guitar segments, mesmerizing Armenian duduk and ambience. Progressive rock meets world music. Can’t get better than that.
It is no
secret that Steve Hackett also loves the blues. “Underground Railroad” is a blues gospel
tribute to African American traditions and the route some slaves used to escape
from the southern USA.
Wings” begins with a charming neoclassical symphonic piece with Steve Hackett’s
gorgeous signature acoustic guitar and vocals. It progresses into a cinematic
sections with magnificent choirs and strings. Classical meets progressive rock
and shredding guitar.
On track 6, “Shadow
and Flame,” Hackett returns with the world music influences by adding Indian elements.
It’s spectacular progressive rock highlighting Hackett’s electric guitar along
with remarkable sitar work performed by the wonderful Sheema Mukherjee, who
used to play with Transglobal Underground.
Years” is a sing along pop song with a toe tapping beat.
Track 8, “Descent” consists of an ominous march with orchestral drums and exquisite strings that give way to Hackett’s extraordinary guitars folowed by “Conflict,” a short symphonic piece.
ends with a tranquil ballad called “Peace.”
The lineup: Steve Hackett on acoustic, 12-string and
electric guitars, dobro, bass, harmonica and vocals; Durga McBroom on vocals; Lorelei
McBroom on vocals; Nick D’Virgilio on drums; Simon Phillips on drums; Sheema Mukherjee on sitar; Gulli Briem on
drums, percussion; Malik Mansurov on tar; Jonas Reingold on electric bass; Paul
Stillwell on didgeridoo; Rob Townsend
on saxophone, bass clarinet, duduk; Amanda Lehmann on vocals; John Hackett on
flute; Gary O’Toole on drums; Roger King on keyboards, programming and
orchestral arrangements; Ben Fenner on keyboards; Dick Driver on double bass;
and Christine Townsend on violin, viola.
The album is
available in several formats, including a Mediabook CD with an extra DVD with a
5.1 surround sound mix and behind the scenes footage; double vinyl LP and CD,
jewel case CD and digital version. The CD booklet contains lyrics, credits and
Three of the
finest musicians in the northern European fusion scene collaborate with
American guitarist Mike Stern on Jan Gunnar Hoff Group Featuring Mike Stern.
Half of the album are laid back tracks that highlight Stern’s guitar and Jan Gunnar Hoff’s piano. The other half are thrilling, high energy, electric jazz-rock fusion pieces with admirable guitar work and fantastic synth solos and electric piano by Jan Gunnar Hoff.
The synthesizer work is so good that leaves wanting more. His synth style is influenced by two of the greatest fusion keyboardists o all time: Chick Corea and Joe Zawinul.
includes Jan Gunnar Hoff on piano and keyboards; Mike Stern on guitar and
vocals; Per Mathisen on electric and acoustic bass; and Audun Kleive on drums.
This fantastic surprise is a high quality live album by progressive
rock pioneers Curved Air at the peak of their career. While most of the first
progressive rock bands were fronted by men, Curved air featured the fabulous lead
vocalist Sonja Kristina. Another Curved air innovation within progressive rock
was the use of violin as a lead instrument.
The Second British Rock Meeting 1972 shows the versatility of Curved Air and the beauty of progressive rock with a mix of exploratory rock, classical music, blues, jazz, and jam rock. This album is the third volume of the Curved Air Rarities Series and the only recording of its kind, featuring Curved air improvising, with extended, delectable versions of the band highlighting the talent of innovative keyboardist Francis Monkman and groundbreaking violinist Darryl Way supported by an inspired rhythm section.
The lineup included Sonja Kristina on vocals and acoustic
guitar; Darryl Way on violin, Francis Monkman on keyboards and guitar; Florian
Pilkington-Miksa on drums; and Mike Wedgwood on bass.
The CD booklet includes an introduction by Francis Monkman,
who mastered the audio and supervised the release personally, together with two
essays authored by attendees at the festival as well as previously unseen
progressive rock vocalist Jon Anderson (Yes) has announced the release of a new
album titled 1,000 Hands that will be released on March 31, 2019.
“I’ve spent long periods of time making some records, but I’ve never taken a journey quite like this one,” says Anderson. “To say that 1,000 Hands has been a long time in coming would be quite an understatement, but I’m thrilled that it’s finally a reality and that my fans will now be able to hear it. And I think they’ll be delighted to hear music that’s timeless. It’s one of the best things I’ve ever done.”
Anderson started the album (originally titled Uzlot – “it means a lot of us”) approximately 30 years ago, working with a group of musicians that included Yes drummer Alan White and bassist Chris Squire. Nevertheless, due to his demanding touring commitments with Yes, Anderson had to put the record on hold. “Before you knew it, I started getting involved in other projects and tours, and years went by,” he clarifies. “I would listen to the tapes from time to time and think, ‘This could have been a great album! One day I’ll finish it.’”
Respected producer Michael T. Franklin (Bruce Hornsby, Brian Wilson, Roger McGuinn) had at one time begun working on orchestrations for the album, but once more Anderson’s packed schedule required the project to be put on hold. Ultimately, a year and a half ago, Anderson and Franklin decided to continue to work on the album and were determined to finalize it. “Our ideas still matched,” Anderson says. “Michael knew everything I wanted to do and how I wanted the music to sound, so we agreed to go for it.”
work took place in Franklin’s Solar Studios in Orlando, Florida. Anderson laid
down backing vocals to his original lead tracks, and Franklin brought in an superb
group of rock and jazz legends to complete the songs: fellow Yes colleague Steve
Howe, Ian Anderson, Jean-Luc Ponty, Billy Cobham, Chick Corea, Steve Morse,
Rick Derringer, Jonathan Cain, and the Tower of Power Horns are just a few of
the guests on 1,000 Hands.
“That’s where the title 1,000 Hands comes from, all of the brilliant musicians who played a part in making the record,” Anderson states. “Michael acted like something of a casting director, bringing so many great players. It was really exciting to hear the record open up and become what I had always envisioned.”
The sessions came out so well, in fact, that Anderson decided to include four new songs on the album, with brand-new lead vocals. “Jon is such a remarkable writer and singer,” enthuses Franklin. “His newer songs were fabulous, and they fit seamlessly with the rest of the album. Everything came together beautifully.”
the utterly beautiful acoustic ballads “Now” and “Now and Again,” the album
includes stimulating new progressive rock pieces (“Activate,” “Come Up”), poly-rhythmic
wonders (“WDMCF”) and reggae pop (“First Born Leaders”).
wizard Steve Roach recorded Electron Birth in front of a live audience during a
remarkable performance at Tucson’s Galactic Center on February 11, 2018.
The album Electron
Birth consists of 54:49-minute long progressive electronic music piece titled “Electron
Birth” and a second composition called “Cloud Currents.”
Steve Roach’s electronic styles vary from album to album. In this case, Steve delivers a transfixing set of intricate, multilayered and constantly evolving, fast-paced electronic pulses generated by sequencers and other devices along with shape-shifting harmonic layers. This is the new generation of what is known as the Berlin-style of electronic music.
high energy construction, Steve takes the listener to another level of consciousness
with “Cloud Currents.” It’s a dreamy, peaceful and delightful track of morphing
ambient music that lets you sit down and relax.
instruments used on Electron Birth include Oberheim Xpander, Emu Esynth, Korg
Wavestation, Nordlead 2 and 4, TTSH Arp 2600 clone and Eurorack expander,
Doepfer MAQ 16 Sequencer, DSI Mono Evolver, and Mackie VLZ 4 – 32 channel
John Irvine is an excellent Scottish guitarist and composer inspired
by some of the leading jazz-rock and rock hero guitarists. His music is on the
progressive side of jazz-rock, incorporating influences from maestros such as
Pat Metheny, Joe Satriani, John McLaughlin and Alan Holdsworth as well as classic
progressive rock harmonies.
The guitar sounds are multifaceted, and highly satisfying. John Irvine also plays the bass and keyboards. Guests include Rob Ironside on saxophone; Gwen Kelso on flute; and Rich Kass on drums.
Favorite tracks include “Hymn To The Winter Sun”, full of seductive grooves and memorable guitar work; the captivating “Me And My Idiophone,” where John Irvine uses an impressive arsenal of guitars supported by formidable creative drumming; and the progressive desert blues of “Sahara Yadouin.”
Progressive rock band The Gardening Club recorded its new album at producer and guitarist Norm Macpherson’s Garry Oak Studios in Metchosin, British Columbia in Canada. This place, encircled by woods and near the Pacific Ocean, was a great place for composing and recording the new record.
Most of the music on The Riddle is by guitarist and vocalist Martin Springett. He delivers a wonderful set of slide guitar performances that add an enchanting bluesy feel to the band’s particular style of folk-influenced progressive rock. The vocals sometimes recall the Strawbs and Echolyn as well.
Guitar play an essential role in this album featuring the slide guitar as well as exquisite acoustic and electric guitar interplay between Martin and Norm Macpherson.
Although we associate heavy use of keyboards with progressive rock, the keyboards here appear in the form of a handful of delightful synth solos.
“The Riddle” also features a few saxophone solos. The smooth jazz saxophone is too sappy and breaks the magic of the album. Having two great guitarists is more than plenty and much more satisfying.
The lineup includes Martin Springett on vocals and guitars; Sean Drabitt on fretless electric bass; Norm Macpherson on guitars; Norm’s son, James Macpherson on drums and keyboards; and Wayne Kozak on saxophone.
Martin Springett is also well-known as an illustrator. He created the beautiful artwork for the CD version of the album.
A Life In Yes: The Chris Squire Tribute honors the work of the late Squire, who was the longtime bassist of progressive rock masters Yes. Chris Squire performed some of the most memorable bass solos in progressive rock history.
This project was produced by multi-instrumentalist and Squire’s friend Billy Sherwood. He did a great job this time, recruiting a truly impressive cast of first rate musicians: Todd Rundgren, Steve Porcaro (Toto), Annie Haslam (Renaissance), John Wesley (Porcupine Tree), Sonja Kistina (Curved Air), Patrick Moraz (Yes, The Moody Blues), Steve Stevens (Billy Idol), Dweezil Zappa, Steve Hogarth (Marillion), Larry Fast (Synergy), Jon Davison (Yes, Glass Hammer), Brian Auger, and David Sancious (Jeff Beck, Bruce Springsteen).
The song selection is interesting, with several tracks from Tormato and Fragile, plus pieces from other Yes albums and a few curiosities.
As one would expect, A Life In Yes: The Chris Squire Tribute highlights the electric bass, performed by Billy Sherwood. He’s an outstanding instrumentalist, who shines when he ventures into real progressive rock.
The first track is the solidly progressive rock composition “On Silent Wings of Freedom: which appeared on the album Tormato (1978). This fabulous version features Jon Davison on vocals; Billy Sherwood on bass, guitar, backing vocals; Jay Schellen on drums; and Patrick Moraz on keyboards.
Track 2 is “Hold Out Your Hand” from Chris Squire’s first solo album Fish Out of Water. It is a very Yes-sounding song with superb bass work. The lineup here is Steve Hogarth on vocals; Larry Fast on keyboards; Billy Sherwood on bass, guitar; and Jay Schellen on drums.
The beautifully-melodic “Onward” appeared on Tormato. The Jon Anderson vocals are replaced on this occasion by the great Annie Haslam (Renaissance). The rest of the band includes Billy Sherwood on bass, excellent slide guitar, keyboards, and backing vocals; and Jay Schellen on drums.
Track 4, “South Side of The Sky” is the Yes progressive rock classic from the album Fragile (1971). The fierce rock guitar is played by Steve Stevens. The rest of the band: Billy Sherwood on vocals, bass; David Sancious on keyboards; Steve Stevens on guitar; and Jay Schellen on drums.
“The Fish” is a knockout electric bass fest, also from the album Fragile. Hats off to Sherwood for his bass work here. His colleagues here are Sonja Kristina on vocals; and Jay Schellen on drums.
Track 6 is from Yes’ least appealing era. “The More We Live – Let Go” appeared in the pop-leaning Union album (1991). It features Billy Sherwood on vocals, bass; Steve Hackett on guitar; Steve Porcaro on keyboards; and Jay Schellen on drums
The tribute returns to genuine progressive rock on track 7, “Parallels” from the Going for the One album (1977). Once more, the bass lines are by Sherwood are exceptional. The band: Jon Davison on vocals; Tony Kaye on keyboards; Billy Sherwood on bass, guitar; and Jay Schellen on drums.
Track 8, “Owner Of A Lonely Heart,” from the album 90125 (1983) was one of Yes’ greatest hits. This was a time when Yes moved away from progressive rock and embraced radio friendly AOR. The best of this version is Dweezil Zappa’s skillful guitar solo. The lineup here: Nikki Squire on vocals; Dweezil Zappa on guitar; Billy Sherwood on bass, keyboardss; and Jay Schellen on drums.
Another classic, and radio hit, is “Roundabout,” from Fragile. This striking version includes Todd Rundgren on vocals; John Wesley on guitar; Tony Kaye on keyboards; Billy Sherwood on bass; and Jay Schellen on drums.
Track 10, “Don’t Kill the Whale” was included in Tormato. It holds special significance now that several countries have disgracefully decided to hunt whales again. The unmistakable Brian Auger provides the stand out organ solo here. The other artists: Candice Night on vocals; Billy Sherwood on bass; and Jay Schellen on drums.
The album contains two bonus tracks. Track 11 is “The Technical Divide” from the supergroup The Prog Collective, featuring Chris Squire, Alan Parsons, David Sancious, Gary Green and Billy Sherwood. By the way, more pop-leaning than progressive.
The final track is “Comfortably Numb” from Pink Floyd’s The Wall. The musicians here are: Chris Squire, Alan White and Billy Sherwood.
Swedish guitarist, composer and progressive rock marvel Roin Stolt is a prolific artists who has been involved in numerous projects as band leader or as part of super bands: The Flower Kings, Transatlantic, Agents of Mercy, and Kaipa DC. His latest project is called Roine Stolt’s The Flower King, which is a subtle way to clarify that this is a solo endeavor rather than a new Flower Kings album.
Although many identify Roine Stolt as a progressive rock musician (which he is), the multi-faceted artists is also influenced by classic rock, blues and jazz.
The album begins with a short atmospheric piece titled Rainsong. This is followed by the least favorite song on the album, Lost America, which is a classic rock/hard rock song with catchy hooks.
Progressive rock starts trickling in with “Ze Pawns,” a track with dreamy keyboards and mesmerizing slide guitar. The introspective vocals recall the work by Pink Floyd’s Roger Waters.
High Road is one of the finest pieces on the album, symphonic progressive rock at its best; full of memorable and beautiful electric guitar work.
Rio Grande is an instrumental epic with outstanding guitar, drums and keyboard work, including evocative mellotron.
Next To A Hurricane is a happy, sing-along song with pop and jazz harmonies.
On The Alchemist, another instrumental, Roine Stolt incorporates jazz fusion, Zappaesque zaniness and blues, including interplay with saxophonist Rob Townsend.
Baby Angels is a sweet song with unexpected ukulele.
Thirty Wakeup sounds like a tribute to Focus’ signature classically-rooted instrumentals, with Roine’s guitar joined by electric organ and flute.
Roine Stolt has a great ability at making epic progressions. The Spell of Money is an instant-epic that feels familiar right from the dramatic beginning. It combines superb musicianship with politics and social criticism about the dark side of money.
The album includes Roine Stolt on lead vocals, electric and acoustic guitars, keyboards, bass, ukulele and drums; Hans “Hasse” Fröberg on vocals; Nad Sylvan on vocals; Max Lorentz on vocals and Hammond B3; Zach Kamins on organ, Moog synth and Mellotron; Rob Townsend on soprano saxophone and flute; Michael Stolt on bass and vocals; Jonas Reingold on fretted and fretless basses; and Marco Minnemann on drums
The album is available in various formats: limited edition CD digipak, Gatefold 180g 2LP + CD and as digital download.
Yesterdays, a progressive rock band based in Transylvania, Romania, recently released Senki Madara, a fascinating recording where Hungarian traditional music meets with state of the art symphonic progressive rock.
The band talked to Progressive Rock Central in December 2018:
What do you consider as the essential elements of your music?
I think is important to listen many styles of good music. For us, classical music, jazz, fusion and traditional music are the ingredients and this helps keeping the sound and the ideas fresh. Prog is just the final form, we communicate on this “language” best.
Who can you cite as your main musical influences?
We grew up listening to The Beatles, Yes, Gentle Giant, Pink Floyd, but from the classical side renaissance music is essential for us, the usage of polyphonic vocals are very important to us.Of course Debussy, Ravel, Bartók and Stravinsky are also our favorites. Later we got to love Pat Metheny, Chick Corea’s works from the seventies and of course Hungarian bands like East and Faxni, and also some obscure folk/jazz bands like Makám and Kolinda.
How did your musical ideas evolve throughout the years?
We started Yesterdays at a young age, so we were experimenting with prog, even bossa nova. Now after more than 12 years we are still experimenting, but everything got more conscious. You know, we love prog because here we can do musically everything we want. We are not part of any big label, so we don’t have to deal with compromises, which is a fantastic thing.
Tell us a little about the band members and the background.
The main “old” elements of Yesterdays are still present, me on guitars and keys, Enyedi Zsolt on keyboards, synths, Kósa Dávid percussion, we were present on all the 3 albums. Kecskeméti Gábor, flute virtuoso, got involved with our second album and since then he is also with us. While Zsolt and I are the main progheads, Dávid is more a funky guy, Gábor comes from the jazzy, bossa-nova fields, he is an amazing fusion guy with perfect pitch! Stephanie Semeniuc is the lead singer on the new album, she also has classical training, but she comes from jazz and funk, she’s a pro, handles prog very easily. Our drummer is Szűcs József, who plays with us for years now.
What’s the connection between progressive rock and Hungarian folk music?
Well, you can find connections everywhere. Hungarian folk music is such a rich and ancient source, it’s been “used” by Bartók a lot. It has beautiful melodies, texts, deep meanings, sums up the Hungarian traditions and history. Progressive rock is such a nice and forgiving style with integrating the “old” into the “new”. Just look at the classical renditions by Nice, ELP or Gryphon’s and Gentle Giant’s renaissance connections. We did the same thing with Hungarian folk music and it felt very natural. I think one can feel it by listening to the Senki madara album, it’s been only 1 and a half months since the release date and we are almost sold out. It feels good!
Although you are a Hungarian band, you are based in Romania. What’s the reason for this?
Yes, it’s correct. Transylvania, where we are living now was part of Hungary for a few hundred years. The 20th Century brought changes with the World Wars, so Transylvania is now part of Romania. Our grandparents were born in “Hungarian times”, we were born in “Romanian times”, so right now we live in Romania as Hungarian minorities along with many others. It’s a historical thing. Our roots belong here, our past, our traditions tie us to this land, we are at home here.
What musical instruments do you use?
Yesterdays is s symphonic prog band, so we are using all those instruments and samples from the seventies which made this sound unique. Many types of acoustic guitars, electrics, steel guitars, distorted bass, fretless bass, mellotrons, Fender Rhodes, Hammond organ, piano, flutes and many many vocals.
Do you have plans to continue the great fusion of progressive rock and Hungarian music?
Of course, although this album started out as an experiment, looking at the current success and positive responses we decided to play as many shows as possible in 2019 with a minimal setup (voice, guitars and flute, in a trio line-up), but of course you can expect many sound-wizard things as well. We are planning to shoot a DVD with this material in the Summer of 2019. But near this, a brand new concept album is in the making, my long-time dream, a classical story from literature…
How’s the progressive rock scene in Hungary and Romania?
Right now it’s not in a good shape… the classic bands like Solaris are doing a few comeback shows every now and then, but that’s all. Barbaro is over, After Crying isn’t active as far as I know. In Romania it’s the same. Yesterdays is the only active prog band in Romania (it’s safe to say).
If you could gather any additional musicians or musical groups to collaborate with, whom would that be?
We have many special friendships with Flamborough Head (played with them 3 times in the past), with Paidarion (from Finland) and with Argos (+Yacobs). In 2019 we’ll play a few shows with Argos in Germany.
As for recordings, we have many wishes to play with Patrick Moraz, Pálvölgyi Géza (East), maybe Dan Andrei Aldea (from Romanian band Sfinx), just to name a few, but Canadian singer/songwriter Marie-Pierre Arthur got under our skin with her recent album, she got near the progressive rock territory… it would be nice to collaborate with her (she is also involved in the recent Harmonium tribute in Canada… check her out!)
Aside from the new album, do you have any additional upcoming projects to share with us?
Yes, we are working on a new single/song right now and in 2019 hopefully will bring our first DVD/live CD, and in the meanwhile we’ll keep on working on the 4th album, hopefully it won’t take this long as the 3rd…
Holdfénykert (Rockszerviz Records, 2006), re-released enhanced and remastered in 2008 (Musea Records)
Colours Caffé (2011) Senki Madara (2018)