Jon Anderson and The Band Geeks -True
- Is the organiser back?
- Has he opened the door and entered the House of Castellano, or merely thrown some fairy dust over it?
The Organiser
In 1980, when Yes's tectonic plates shifted, shaking the very foundations that had driven them to such incredible heights, the roots of the earthquake lay with Jon. He had decided he was no longer "the organiser" but a songwriter who wanted to make more spontaneous music.
In 2023, he returned to an idea he had pursued on two previous occasions: to re-establish himself at the forefront of Yes's most demanding music, the music that has become known as the main sequence. So, he dialled B for Band Geeks.
They and Jon delighted everyone on their tour last spring, receiving standing ovations wherever they went. The idea then began to spin around in Jon's mind about another possibility: new music with the young Turks who played the classics with such elan, energy, flair and skill.
In 2024, to the astonishment of many, he announced he would record with the Band Geeks and, even more surprisingly, did just that, and we have the result. This teased the notion that Jon was once more engaged and, more tantalisingly, that he had returned to the role of those halcyon years as the organiser. Let's have a look and see if that happened.
The Ballads
"Build Me an Ocean" and "Thank God" don't really offer any clues; they are plaintive ballads constructed much like much of the music on Survival, except his performance is much stronger. In 1972, Jon named Frank Sinatra as one of his influences, and he has always had a penchant for ballads. Curiously, when Yes were at their most expansive, he still managed to imbue the music with the songs that end Ritual and Gates of Delirium. However, it wasn't until 1978 that he sang a ballad, which was ironically Chris's song Onward.
I like both pieces because they show Jon at his most passionate and direct, and because the Geeks' embellishments are so simpatico; the vocal embellishments on both add, and Richie shows his maturity and sensitivity by letting both songs breathe.
The Castellano Tracks
"Shine On" and "Still A Friend" began life with the Geeks and were offered to Jon. They are both energetic and well-played, and Jon is definitely captured inside the music rather than floating over the top, chanting and scatting. Given Richie's pedigree and encyclopaedic knowledge of music, but being an American musician, these two pieces sound for the most part generically American Radio music. Still a friend, it almost has a reggae feel, but ultimately it is an intelligently crafted straight-ahead rock piece with just a modest hint of Andersonian tics. At this point, I cannot put my hand and my heart and say Jon's idiosyncratic musical personality is really in full view, but that’s only a part of the story.
Make It Right & Realisation
Make It Right starts with a beautifully arranged gospel feel; at the three-minute mark, a delightful soulful guitar solo emerges. When the verses return, Jon begins his interventions. Wonderful strings and a glorious operatic flourish from Ann Marie Nacchio take the performance onto a higher level before it segues into Part 2. Jon's performance and lyrics are joyous. Then the first example of the singular, unique quality of this project: the most gorgeous call-and-response harmonies between Jon and the boys and these harmonies are Geek Harmonies. This is beautiful, effortless music-making. Care and thought are written all over this, and the second half is particularly infused with a joyous infectiousness, driven mainly by the vocals.
True Messenger
This piece, the second single, is rather well-known. But this is where Jon knocks on the door of the Castellano musical residence, walks in, sits at the table, and begins giving orders.
Richie saw the potential of Jamie Dunlap's demo (There was an Anderson/Ponty Kickstarter demo called I See You Messenger, but whilst the two share Dunlap's compositional style, the musical ideas are quite different). However, the outcome contains all those classic Anderson musical qualities. He slows the music down and makes it lullaby-like. offers a swaying refrain, "the sense the story lives", so when the musicians come back in, the transition is more radical. But once again, amid the journey of the composition, the vocal interplay shows how well connected they are and how engaged Jon is. Another slowed-down section, "see innocence really", lovely scuttling bass embracing him before it launches into the frantic Dunlap-based runs. This piece, with its autumnal musical colour, echoes Peter Banks' era of Yes, but with a ton more sophistication. The piece roars to its conclusion, and this is where it becomes particularly interesting: the instrumental music powers upward, supported by a beautiful, prayerful, much slower Anderson; the two-speed combination dishing up the perfect intrigue; and then, finally, the door opens to... infinity. Jon, the organiser, is in the house.
After listening to this music for several weeks, what I am most aware of is a quality that runs through all the more ambitious pieces, which can only be described as a sense of weight and heaviness. It can still be Spartan and restrained, but it has real depth and gravitas. It's Anderson-heavy rather than Anderson-lite. The arrangements are dense and intriguing. This probably comes from a combination of so much going on, but equally important, in a highly organised manner. There is an intensity that comes from setting restless energy free and channelling it into the outcome.
Counties and Countries
This is the political piece. It was offered to Yes and the Holy Trinity, and they rejected it. Jon gave the demo to Mr Castellano in 2023, and Richie baited Jon beautifully with a MIDI demo that realised all the work's potential, and he offered it in the tradition, which was also the gateway to a deal with Frontiers. Roaring instrumentation, Brufordian rattling salvos, modern-sounding keys before some muscular guitar, the sub-Chariots of Fire trumpeting, and it all leads down to the melodies that Jon will sing. It slows down, and off he goes. "I have seen counties and countries." Classic Jon.
The piece moves along with tons of excitement before an arriving UFO-ascending guitar figure, fantastically recorded (unlike the original), then quiet again. Jon croons 'Only for you ', and this is where we have the perfect mix of Yes easter eggs, the quietly repeated punched keyboard before the piece ascends, and Richie echoes Jon with a marvellous, attractive vocal. Then the progressive rock pyrotechnics. It's fast-paced and entertaining, but we keep coming back to that main melody, which takes us all the way back to 1966. I am flying back 58 years to MacArthur's Park. Bold, entertaining music with an almost cinematic feel.
We are, however, not over yet; we are transported to Wembley in late October 1978 and a phenomenal Moog solo before Jon, having made his point, sings us out. This is a song about celebration and remembrance, and I am good with that, even if it doesn't reinvent the wheel. It restates the musical values he believes in, and the players may function as past co-workers have with Jon, but the voice, guitar, and drums are their own thing; most importantly, with progressive rock arrangements, the keyboards have a contemporary sound.
Once Upon A Dream
Once upon a time, you were searching for the meaning of life. "Dawn of light lying between a silence". But then, with that reference, in comes Richie; it's fresh, with a charming acoustic solo and strings. This is a progression; there is a nod to Roine Stolt, stately guitar playing of the theme. But then the drop-off, and the bass and the rhythm guitar fight with each other whilst Jon comes in with a harsh Gates of Delirium delivery. The influences are there, but it mixes it up, and at a technical level, it is very accomplished. Fabulous drumming, to the point, dynamic. Then Jon goes left field, and we get a late Beatles-type insert on acoustic before the real achievement of this piece, the fabulous harmony vocals, "We love, we saw, we sing." This is so involved!
The stomping groove continues, but it is so controlled, aggressive, yes, but controlled. Those call-and-response harmonies return, and then Jon sings the "Beatles tune" over much stronger forces.
Lovely slide work as we walk into the house of freedom. Richie on the bass shows he functions as the late Christopher Squire, but sounds entirely different; there is no grinding Rickenbacker. And then we go spacey.
Gorgeous vocals from Ann Marie, and then Jon comes in over the top. This is very emotional, very moving. "Asking for the majesty". Ann Marie and the rippling piano and guitar are so attractive, and then some lovely bass tinkling. This is terrific and fresh, and Jon singing slowly sounds great, really good.
Then that lovely vocal refrain returns. Enchanting, gorgeous music; we are in heaven, and the musical logic of the chant from the beginning returns before a clatter from the drums. The vocals on this piece are fresh, moving and their own thing. This is not a callback.
The earlier stomping returns with a powerful church organ sound, the bass urging it upwards (Yes, right now I am in Switzerland, I get the link). Jon comes back in, supported by superb harmonies. We climb ever onward, stately guitar, drums, and then that refrain. "We dance, we love", and there is a fantastic, exposed entry from Richie, who shows on this download, project, CD, whatever you want to call it; he has a very attractive Baritone.
Soaring guitar, Jon, the harmonies take us upwards and onwards, a key change, and then we're done. I am emotionally exhausted. Brilliant! It's wonderful. The Geek choir, supporting Jon in a much better voice than for years, is the highlight of this solo album by Jon Anderson. A committed, engaged Jon Anderson, waving his arms around and giving those unorthodox pointers. Yes! The organiser is back!
Comments
Post a Comment