A new release from the AndersonPonty Band

A new release from the AndersonPonty BandBetter Late Than Never is the new studio album that brings together French virtuoso violinist and jazz composer Jean Luc Ponty and the YES front-man Jon Anderson.

The album was taken from a live performance and then given the production treatment (most likely to cut out all the whooping and hollering). However, don’t fear, those of you that love all of that business will find the package comes with a bonus DVD from the September 2014, Wheeler Opera House concert in Aspen Colorado.

The material features re-workings of classics like Owner Of A Lonely Heart, Roundabout and Wonderous Stories as well as some of Jean Luc Ponty’s own compositions such as Infinite Mirage.

Jon Anderson had the follow to say about the project – “A breakthrough feeling came as I sang with Jean Luc’s music, to be in a band again is very exciting on many levels, we will play and sing our way around the world and have fun, for music is pleasure, music is all that is”.

The band includes; Jamie Glaser on guitars, Wally Minko on keyboards, Baron Browne on bass and Rayford Griffin on drums and percussion.

You can get a flavour of the album by watching and listing to the reworking of Owner Of A Lonely Heart in the video below.

Darren Beech

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JASON MRAZ announces album YES! out 14th July

Grammy award winning singer/songwriter Jason Mraz has announced details of his much-anticipated new album. YES! will be released via Atlantic Records on the 14th July.

One of the world’s hardest working and most beloved artists, Jason Mraz’s journey has propelled him from the San Diego coffee house scene to arenas, amphitheaters, and stadiums all over the world.

Jason Mraz’s fifth studio release, YES! sees the San Diego-based troubadour teaming up with his longtime friends and collaborators, Raining Jane, for a purely acoustic and more intimate sound than heard on his previous releases.

The lead single “Love Someone” which is out on the 30th June can be listened to in the video below.

Additionally, Jason will be releasing live video performances, “Live from the Om Studio at Mraz Organics’ Avocado Ranch,” directly on his Facebook page to accompany tracks that will be unveiled every Monday.

While somewhat intimate and esoteric, YES! still remains a Mraz-like pop album and  features classical instruments, cello, sitar and vintage guitars and sings about universal themes of love, faith, healing, environmental stewardship and inner peace.

Jason will be announcing his YES! world tour dates in June.  The tour will kick off the U.S. in August with Europe planned for September, Asia and Australia later in 2014 and South America in 2015.

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The track-list for YES! is as followed.

  1. Rise
  2. Love Someone
  3. Hello, You Beautiful Thing
  4. Long Drive
  5. Everywhere
  6. Best Friend
  7. Quiet
  8. Out Of My Hands
  9. It’s So Hard To Say Goodbye To Yesterday
  10. 3 Things
  11. You Can Rely On Me
  12. Back To The Earth
  13. A World With You
  14. Shine

TAAB 2 – WHATEVER HAPPENED TO GERALD BOSTOCK?

Ian Anderson’s follow up to 1972’s classic prog rock album offers some answers

Prog Rock? Prog Rock? In 2012? Are you serious? Well, yes actually – although let’s use the original term ‘progressive rock’. Cast aside all prejudices as Jethro Tull’s singer / flautist / composer Ian Anderson explains what led him to revisit the genre some 40 years after the ground-breaking Tull album Thick As A Brick.

In the early 1970s bands like Yes, Genesis, ELP and King Crimson were pushing musical boundaries. The arrival of punk cast a shadow over a style of music that admittedly was becoming self-indulgent and pretentious, and the term Prog Rock became somewhat derogatory. But, Ian explains, “To me, anything is progressive if you are trying to take things on into a slightly new dimension, and draw upon different influences and push them into something that fits your own sense of inventiveness and your own career progression. So ‘progressive rock’ is a fine title.”

Jethro Tull’s short ‘prog rock’ era peaked with 1972’s Thick As A Brick, a 45-minute continuous piece of music charting the difficulties of a child growing up and confronting a frightening and unfair world. The album was encased in a spoof local newspaper The St Cleve Chronicle, with a headline story that a precocious schoolboy called Gerald Bostock had been disqualified from a poetry competition because of the inappropriate nature of his epic poem, which Tull then allegedly used as the album’s lyrics. Ian explains that the idea stemmed from the critics’ descriptions of 1971’s Aqualung as a ‘concept album’, even though it was just a bunch of songs a few of which had common themes. “In the light of the Aqualung reviews I deliberately set out to do a concept album that would in essence be a bit of a parody of other people’s concept albums and grandiose progressive rock adventures. I thought let’s take this slightly arrogant and pompous way of writing and presenting music to an extreme, with the fiction of a then 10-year old boy having written the lyrics. Of course it’s preposterous and really quite silly, but it was the era of Monty Python, when that sort of surreal British humour was quite well embedded in the British psyche.”

The album was a world-wide success, including a No 1 spot on the American Billboard chart, and excerpts from the piece have regularly featured in Jethro Tull and Ian Anderson live shows. But Ian had steadily resisted record company suggestions that he write a follow-up. It was not until a chance encounter in 2010 with old pal Derek Shulman of Gentle Giant, who nagged him to consider a 40th anniversary sequel, that Ian gave it some serious thought – and surprised himself by not dismissing it out of hand this time. He had noticed that in recent years his audiences had been changing. “It wasn’t just old codgers, it was kind of a mix between old codgers and young codgers. It really struck me that there was this new wave of interest from youngsters who want something that is an alternative and antidote to the X-Factor and the very repetitive rock music that does tend to be the stuff of today. So I began to feel that it was not quite as undignified as I had earlier supposed to be doing something that was more in that kind of progressive vein.”

In February 2011 Ian spent a couple of days sketching out some ideas. “It was predicated on the idea of what might have befallen Gerald Bostock, this precocious child, where would he have headed in life? And the more I started thinking about that the more I thought that there were so many pivotal moments in my own childhood where, often quite by chance, I might have gone in one direction or in some completely opposite direction. I could have been anything from a soldier or a sailor or an astronaut to a thespian or a silviculturist – although when I left school I actually tried first to join the police force and then to be a journalist on the local newspaper, before music took over while I was at art college.

“So I imagined Gerald Bostock as this 10-year old kid entering into puberty who, by the look of the young male model who was photographed in 1972 as the notional Gerald Bostock, was obviously a rather swottish schoolboy who probably wasn’t very popular at school and probably wasn’t very good at sports. What sort of opportunities would he have had, who would he have been, what would he have been led towards? I started to write a number of scenarios, including a piece looking at his possible early life immediately post-puberty, and then another piece later on for each of these characters that Gerald might have become, leading through to adulthood. Then in the latter part of the album I drew all these things back into a common kismet-karma kind of future where, in spite of all these chance interventions, there is maybe some element of fate and we all end up where we were going to end up anyway, in spite of the fact that we may have taken some radically different roads along the way.”

From that loose concept emerged TAAB 2. Recorded in November 2011 with Florian Opahle (guitar), John O’Hara (keyboards), David Goodier (bass) and Scott Hammond (drums), musically Ian has very deliberately echoed the feel of the 1972 album by using many of the same instruments, including a lot of acoustic guitar and lashings of Hammond organ, and to a large extent recording it with the band all playing live together, with the minimum of overdubs and no use of limiters and noise gates and other tricks of the trade, leaving engineer Steven Wilson (of Porcupine Tree) to tweak things himself. And, whilst there are ID points to allow separate tracks to be downloaded from iTunes, it is a continuous 53-minute piece of music with recurring musical themes.

Also echoing the 1972 album, and the St Cleve Chronicle newspaper sleeve, the 2012 album is housed in a mock-up of a local news website www.StCleve.com, which Ian designed himself in a deliberately not-too-professional pastiche of community websites (and which will be accessible online, with an area where fans can add their own spoof local news stories). ”It’s light-hearted most of the way through StCleve.com, with lots of fairly vulgar schoolboy smutty stuff, but there are also some serious bits and things that are quite observational of the parochial home counties way of life. There will be some familiar characters like Max Quad, and Angela de Groot who runs a fitness centre now. And there will also be various people known to me and known to the world, although their names are slightly twisted around. But you’ll know who they are….” And the 18-month world tour, starting in the UK on April 14th, will also nod to 40 years ago and what Ian describes as the “amateur dramatics village hall” 1972 stage show with a new theatrical presentation involving videos and character actors.

What is Ian’s view of the finished project? “Unlike the original 1972 Thick As A Brick, the mood of the album is not really a spoof. It’s not a funny thing; some of it is quite heart-aching and serious, and sometimes a bit intellectual, and sometimes a bit upbeat and amusing, but not in a spoof-fun way. It’s an altogether rather more serious work, and even when you think it’s being light-hearted and funny there’s a seriousness behind it.

“It’s observational about stereotype characters. And one of the stereotypes I chose not to make Gerald, at least on the album, was a politician, as it seemed too obvious – although he does appear on the album sleeve as a recently unseated Labour MP who’s come to live in the St Cleve vicinity. He does however appear in other guises like a corrupt Christian evangelist, as an overpaid investment banker with huge bonuses and the kind of person we love to hate these days, and as a casualty of war as a repatriated serviceman helping those less fortunate than himself to acclimatise back into the real world with obviously a very bitter sense of the futility of war. Those are down moments and scary moments. But you need to take people through it. So you sometimes do it in a light-hearted way.

“Somebody may draw the parallel with Quadrophenia, but that’s completely wrong. This is not split personality, this is about totally different characters that we all might have become in our lives. If we’d walked on the other side of the road, or picked up the ‘phone, or read that article in the newspaper, things like that could have changed our lives. And that unmistakably is what happens to people in their lives, the friends they make, the relationships they enter into, perhaps in marriage or whatever else. This is all about – as it says in a couple of places – the what ifs, the maybes and might have beens moments in life.

“One of the pivotal moments on this album is the piece A Change Of Horses, which fans will recognise from our stage shows over the last year or so. It’s about that point in your life where you say, if there’s ever going to be a change it’s got to be now. That happens to a lot of people perhaps in the forties or fifties, and I rather like the idea of this re-gearing, this re-evaluation, and there being a second part in your life where fate draws you to some conclusion. But it’s not just looking back, it’s also about looking forward. The what ifs and maybes were rich and exciting moments in my teenage years, filled with a mixture of promise and sheer terror, because it’s a scary world out there. So that’s what I’m exploring, and I think it works for people at both ends of the age spectrum, for the middle-aged Waitrose trolley-pushing shopper and the pubescent youngster who’s facing some decision-making.”

So just to confirm, from a 2012 perspective, is TAAB 2 a concept album? Ian is emphatic in his response. “Yes, it is very much a concept album! It is a concept album that I think is fairly grown-up and mature, but I think it should ring bells for people of all ages. It’s an intellectual proposition. I’m not sure how many people are going to be ready for that kind of a thing, but I think there will be enough people for it to be a worthwhile record to make. But it’s unashamed in its asking you to think about it and listen to it. Some of the music is pretty straight-ahead which you can just kind of groove to, and some things work without your being too cerebral about it. But the overall concept and indeed lots of the lyrics and parts of the music you are going to have to make a bit of an effort with. I think that some of us like to do that. Combine that with all the detail that’s gone into the peripheral aspect of presenting the album with the artwork, the stcleve.com website and so on, it all wraps up into a big package that I think will give people a lot of fun.”

Martin Webb January 2012

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The official Jethro Tull website: www.jethrotull.com

GOLDEN – the new instrumental solo album by Robert Illesh

GOLDEN is the new instrumental solo album by Robert Illesh, who is an internationally acclaimed guitarist, producer and composer. Robert is protagonist in the progressive Aquaplanage project, which enjoys airplay worldwide from Rick Wakeman’s Planet Rock to Californian ProgRock Records’ radio show. Robert is also a long-term member of internationally applauded Yes tribute act Fragile, whose activities have taken him from three years of UK/European touring with Yes/Asia legend Steve Howe, to the Richard and Judy Show with Rick Wakeman and Roger Dean. Other credit highlights include working with Alan White and Jon Anderson of Yes, Glenn Cornick and Clive Bunker of Jethro Tull; and Steve Grant of The Sweet in the classical/rock extravaganza Barockestra.

GOLDEN presents Robert Illesh in new light. Weaving delicate webs and stories, this intimate original music is classically and sacred inspired. Nine instrumental pieces are performed exclusively on 6-string nylon and steel strung acoustic guitars, with just a hint of string and vocal accompaniment. Robert Illesh plays guitars, voice, recorder, the occasional “ting” and is executive producer. Special guests from “Reflection Strings” include Sarah Turner who plays violin and viola; and Val Banks who plays cello. Cover art of cosmic proportions is provided by Marius Michael- George, classically trained sacred and visionary artist.

Material on the 2011 Golden album is the result of many years of work. True to much solo acoustic music across the ages, it is reflective and introspective and additionally encourages the listener to make a journey into the spaces in-between the notes. Metaphors about music, truth and Golden Ages surely apply. Best suited for public performance in seated theatre, sacred hall, or in nature. Music to Uplift. This is Robert Illesh.

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RICK WAKEMAN & JON ANDERSON – Fairfield Halls, Croydon (12.10.10)

I thought I’d wandered onto a set from the recent “Sherlock Holmes” movie as rows of candles festooned the stage at the Fairfield Halls concert stage this evening. This was in fact a simple, but effective presentation surrounding the twin keyboards and acoustic guitar of rock legends Rick Wakeman and Jon Anderson. Thankfully there was no Sally Morgan…the supposed Medium…to conjure up spirits of the past although music from the past did play a part from the duo’s days in ‘Yes’. For many of us old hippies this was exactly what we wanted to hear delving into a repertoire that included tracks from albums such as “Tales From Topographic Oceans” and “Yessongs” although tonight predominantly concentrating on their new album “The Living Tree”. The fashion conscious (???) Wakeman, bedecked in a black frock-coat and white trainers as ever proved the life and soul of the party with pithy one-liners and the occasional anecdote providing the perfect foil for Anderson’s more serious nature although, having said that, a little aside from Rick did have his partner ‘corpsing’ with convulsions of laughter at one point. The new material was particularly well received including the title track and “Just One Man” a revealing insight into Anderson’s own beliefs. Of course, to cement a good performance you need to rely on the support of a good out-front sound engineer and in this, the dynamic duo were well catered by Geoff Beadman who maintained a consistency in quality I haven’t heard in many years of reviewing. With a well deserved standing ovation the dynamic duo exited stage left with beaming smiles and not a little gratitude from a more than appreciative audience.

PETE FYFE

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Artist Website: www.rwcc.com