YES ARW: Greek Theatre 8.29.18

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Yes ARW: August 29th, 2018—

After a two hour set, which started at 7:45 PM, Jon Anderson—who looked as great as he sounded—closed the show with his message, to “give love each day.” It won’t sound romanticized to longtime Yes fans to consider that this is what he has been doing for over 40 years, through the gift of his voice and lyrics, which seem to be divinely channeled for the purpose of transporting us to higher realms.

Yes splintered— 

Tension had been increasing since the death of founding member and bassist, Chris Squire, in 2015. So, it wasn’t a huge surprise when Yes splintered into two versions of itself, after their Hall of Fame induction, just last year. This lineup, with Jon Anderson on vocals; Trevor Rabin on guitar and Rick Wakeman on keys; Lee Pomeroy on bass and Louis Molino on drums, goes by the name, Yes, featuring ARW, with the acronym standing for the three original members.

An Assessment: Jon Anderson & Jon Davison—

As exuberantly noted in our review of the other Yes faction, who we had just seen with Steve Howe, Alan White, and Jon Davison, at LA’s Ford Theatre, we were more than accepting of Davison on vocals, despite the resistance of many other Yes fans, and still believe he is the one to carry on Yes’ mission and sound for the next generation. For now, the world is better for having both.

This is a story of the teacher and the apprentice. It is the story of a fine craftsman at work. It is a tribute and a salute to Jon Anderson, whose craft is his song. It is a lesson in mastery. It is a tale of The Grand Duke and The Count, where Anderson is Duke and Davison is Count… Or, the Shogun and the Samurai, though the teaching is indirect. And if they were to spar, we can well imagine them humbly bowing in deep respect to one another.

Those in audience on this night, under the faintly illuminated stars at LA’s Greek Theatre, were watching a consummate performer at his craft. Although it may seem trite to point to the most commercialized of offerings, it was “Roundabout” that made this most evident.

The Assessment Continues: Roundabout—

Roundabout was one of only a few songs that both lineups played…and it was the one they both saved for last. As if by some unseen, but divinely ordained appraisal by the high court in the sky…it became the ultimate test. The final battle. The concluding duel.

It was the only song our little angel, Davison faltered on, but by official cosmic decree, it had to be played. The people want to hear it. Well…Anderson soared, as he did on every song. He freewheeled through the air. He performed elegant pirouettes and light-footed chassés, with his seemingly ageless, crystalline voice. And so, at the final moment, we see the color of the mantle and cross…the master is revealed.

The Assessment Continues: Howe & Rabin—

As it happens, “Roundabout” would confirm another impression…one which, like a whispered confession, we divulged with some hesitation to one another, after only a few songs in: Rabin was the true weak link in this lineup. Despite the years he has been with Yes, it became painfully clear that without Howe holding the reins, his one man guitar show was lacking in shimmer and shine. On song after song, we continued to notice that all the special little twinkling accents went missing…all the perfectly placed twangs and impeccable little plucks, like exquisite seasonings dashed in just the right amount in just the right places…all the extras that give Yes their virtuosity, simply went missing. The fairy dust had been swept away.

In place of the majestic white horse that could whinny proudly, while up on its two hind legs, we had a little pony. Where Howe went from lap-steel to Fender to Gibson, in a heartbeat, or sometimes two at a time…depending on the texture he needed at the moment, Rabin never once switched out his one trusted guitar, “old faithful.” A one trick pony. If you think this is unfair, or if you have any doubts…watch Steve Howe play this song on the Hall of Fame induction ceremony, with Geddy Lee on bass, and Rabin on second guitar.

On the way home, with iphone recordings in tow, we scrolled through video clips from last month’s show at The Ford, with Howe & Davison. There it was! “Roundabout” in full. Howe’s attention to detail was so fresh and so immediately apparent. All the enchanting acoustic strums were as they should be. All the little particulars that Rabin left behind, sparkled forth with precision in Howe’s dexterous hands.

https://www.youtube.com/watch?v=xYA97-csEfI
(Yes ARW: “Roundabout” Live)

https://www.youtube.com/watch?v=RUJz5SlVWaY
(Yes with Davison & Howe: “Roundabout” Live)

https://www.youtube.com/watch?v=t1-NsnlPc54
(Yes with Geddy Lee on bass: “Roundabout” Live at Hall of Fame Induction)

Awaken—

Running over 15 minutes long, and described by Anderson himself, as an epic piece of music, “Awaken” is, like so many Yes songs, about nothing less than human transcendence. It began with Anderson on his harp…soon joined by Wakeman’s unmistakeable toy piano-like riff in minor chords, which together, create a feeling of suspense, like the gap inbetween incarnations…the bardo…while waiting in the wings to meet God.

As Anderson himself, has explained, the lyrics were inspired by the book, The Singer: A Classic Retelling of Cosmic Conflict by Calvin Miller.

All of this suspense, while drummer, Molino, adds drama, by hitting his tom-toms with cannon-fire thuds, done with super-padded drumsticks. Wakeman begins to add embellishments, and the chords lighten; the somber, almost ominous minor key gives way to major…like the curtains opening. The air becomes thinner. And Anderson’s voice sails above the pressure line in the atmosphere…soaring now, effortlessly, up to the angels’ gate…as if to say, “I’ve triumphed over the trials and tribulations of this lifetime… I’ve passed the test.” And as he sings:

High vibration go on
to the sun, oh let my heart dreaming
past a mortal as me.
Where can I be?
…he takes us into the mystical realm, into ecstacy…into timelessness.

And you and I—

Anderson clinked his tingshas—Tibetan ritual chimes, and thus began “And You and I.” This magnum opus of a song is a dedication to our collective reunion with the divine. The first thing any longtime Yes fan (what other kind is there?) would notice is, again…Howe’s missing acoustic accents. But nonetheless, he sang:

And you and I climb over the sea to the valley
And you and I reached out for reasons to call

The music then changes. The story changes…for that’s what Yes songs offer…a story. Not just a story, but an allegory, one which offers its willing listener a glimpse of truth…a glimmer of meaning…a glistening forth of the essence of life, itself.

The climb that Anderson sings about, evokes the sense of the grand ascent toward reunion with God…or liberation of spirit, if the “G” word doesn’t suit. But, the cosmic dance is a snaky one, fraught with twists and turns and constant set backs. As Anderson puts it, it is a spiral aim. The Buddhists call it samsara…the constant struggle that is part and parcel of human existence. Life and death, itself. Thank God! Infinite chances to try…try again. Life and death…found in every single breath we take, in this demented world of illusion.

Illusion…because “it” was right there within us, all along. Like the scarecrow and his heart. And hence, Anderson sings:

All complete in the sight of seeds of life with you…
And the You and I is…all of us.

But, as long as we are caught in the world of illusion…maya…we don’t see the splendor that was here, all along. Anderson calls this “the eclipse.” The chords then darken…imparting the continuance of our personal struggle. And he sings:

reach out as forward tastes begin to enter you

A moment of Self realization. Enlightenment. God is within, was within, all along. What a futile search!

The music then soars, and we climb… up, up into ecstasy, into the beyond. Anderson again clings the tingshas—two miniature cymbals held by a string—waking us up from the dream. Just as Zen Master hits the bell with the padded stick…and boom…instant enlightenment…satori!

But, we are held in the whirl of the cosmic dance, in the ongoing karmic waves of life and death. This movement is conveyed through the stillness that swells up in the form of an acoustic major chord. It is a new turn in the journey of life. In this way, it is a suite, rather than merely a song. This moment suggests the feeling of finally reaching altitude…steady…like flying on a giant wave in the cosmos. And he sings:

Sad preacher nailed upon the colored door of time
Insane teacher be there reminded of the rhyme
There’ll be no mutant enemy we shall certify
Political ends as sad remains will die
Reach out as forward tastes begin to enter you
Oooh, ooh

reach over the sun for the river
And you and I climb, clearer towards the movement

Wakeman’s ascending triads and triplet rhythms express the jagged spiritual journey, alluded to in this opus…impelling a magnificent triumph over each downfall and over time itself, as the echoing chords skip and soar and swirl around one another, creating energy and motion and mimicking the continual drive toward ecstasy and rapturous joy.

SET LIST—

  1. Cinema
  2. Hold On
  3. I’ve Seen all Good People
  4. Changes
  5. And You and I
  6. Rhythm of Love
  7. Perpetual Change
  8. Lift Me Up
  9. I Am Waiting
  10. Heart of the Sunrise
  11. Awaken
  12. Owner of a Lonely Heart
  13. Roundabout (Encore)
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Yes with Jon Davison. We say…Yes! (And the deeper question of replacing a lead singer)

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The Heroic Frontman—
The group called Yes, has split into two factions, Yes ARW, with Jon Anderson, Trevor Rabin, and Rick Wakeman; and Yes, with Steve Howe, Alan White, and Geoff Downes. There are original and senior members in both lineups. Here, we will focus on Yes, with new vocalist, Jon Davison, who serves as the focal point of this article.

Let us start with the naysayers, who proclaim that if you remove the front man, you’ve killed the band. We used to be part of the dissent. After all, the history here is not on Yes’ side. All one has to do is point to Van Halen, Queen, or The Doors. The frontman seems to be irreplaceable. It’s just not the same band, anymore, as the frontman embodies the band’s persona. But, hang on… exceptions do exist, as when Genesis took in Collins. A Trick of the Tail and Wind and Wuthering followed. Enough said.

In the case of Yes, some say that Davison is only there because he’s a Jon Anderson sound-alike, and more…that it’s demeaning to him, and insulting to the fans. Well, we’re not insulted. Our first and purest response was… Why not enjoy both? Without any pain of argumentation or justification, or analysis or elaboration… Why can’t they both exist in this universe as enjoyable entities?

But, for the sake of good sport and hopefully, fun and fruitful banter among music fans, we will elaborate.

We will continue by addressing Paul Rigby, who feels that “often in a band there is an irreplaceable link, without whom the band loses its identity…sometimes that band member is a vocalist. Sometimes it’s not.” And he continues, “I think my romanticization, as you call it (of Jon Anderson), stems from what Anderson does to a Yes song when he sings it and how the magic drains away when Anderson-imitators have a go.”

While we appreciate his point of view, we respectfully disagree. Firstly, his position carries a presupposition, from the get-go. How about if we don’t come into it thinking of him as an “imitator?” Perhaps, like a cherished classical concerto, we may look upon music of this caliber as timeless, to the point of overshadowing its original members altogether, in the sense that, no matter who delivers it, it has the capacity to continue on and shine. Granted, it may be a rare moon when the stars can align in such a way, but we think they have, in this case.

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Ship of Theseus; What Makes a band…a band?—
There is a thought experiment that we find relevant here, which explores the idea of identity. What makes you, you? Or, in this case, what makes a band, a band?

This question comes by way of the famous ship sailed by the hero, Theseus, which has been kept on display in a harbor. As the years go by, all the planks begin to rot and are replaced, one by one, by new ones. After a century or so, all the parts have been replaced.

Is the “restored” ship still the same object as the original?

As an additional curiosity, suppose that each of the rotted pieces were stored away, and after many years, were restored and reassembled into a new ship. Is this “reconstructed” ship the original ship? And if so, is the restored ship in the harbor still the original ship, as well?

The analogy reflects back on our two versions of the group called Yes, both with claims of genuine identity.

The Ship of Theseus serves as a reminder to think of ourselves as works in progress, rather than as finished projects. Perhaps a band is also a work in progress. But it also asks us to reconsider the importance we place on continuity…where is the continuity? There are original members in each lineup, but even there, they are not the same people anymore, themselves. If identity change is slow and gradual, at what point can we all agree that enough parts have been changed so as to warrant the announcement of a changed identity?

Enough Mind Games; Listen with your Heart—
The point is, we can’t and won’t agree. So, after the mental experiments are exhausted, we’re left with the heart…and the only question that matters to the heart, is…Do you like it? Do you feel transported, while listening? The answer to that, for us, is…Yes.

But even with that said, a bit of magic happens in any art form, when something sincere and authentic is being expressed. And this something comes through, even in cases where some form of “duplication” is at work. Consider Andy Warhol’s Brillo boxes…they worked because there is something new to say…and it is beyond what the eye can see. In the case of music…it is heard, or better, felt. And it comes through the delivery, when that delivery is heartfelt by the performers, themselves…and then met by the receivers in similar heartfelt openness. It’s a synergetic union.

All artists borrow. They’re all influenced by what came before. But in a new amalgamation, in space and time, newly embodied, freshly inspired and in complementary interaction with others, something fresh is born. But that offspring itself, is ever-changing and evolving. In this case, it’s the body of work, called the Yes catalogue, which will see many incarnations that may likely outlive its original creators.

It’s constantly being newly created, anyway, even if only played by original members.

It Becomes his, upon Delivery—
Because Davison feels what he is singing—and this was apparent to these viewers—it becomes his at that moment of delivery. During delivery, he wholly embodies the material and is wholly in that point in time, wholly present, in heart and mind, and therefore, the material is, at that instant, his. And when we join in as viewers, it is ours.

After all, even an original lineup can end up being a parody of itself, if uninspired and burned out. Meaning…”real” has to come from someplace else…some other ingredients than sameness of physical bodies.

Inside out…outside in…he sang, in “Perpetual Change,” and as his smooth falsetto soared into the ethers, the layers of musical patterns then ballooned into a multi-textured phenomenon of rhythms and harmony, underscored by Howe’s steel guitar. And together, they ascended, in playful dance, like a regal spacecraft lifting off and gliding up toward the celestial spheres, with fluid and effortless lift toward transcendence.

Bottom Line; Authenticity—
So, in answer to the notion that Jon Davison is merely “copying Jon Anderson,” there is so much more at work. Our experience was not one that was reduced to “copying.” He happens to be a right fit. Like when two lovers find each other. The chemistry is right…the conversation is right…the personalities are right…and a host of other things, that we will never even fully understand, are right. He was born and gifted with that angelic voice…or, deeper than the voice…it’s the spirit that comes through the voice. He seems to channel the very essence of Yes. He’s not just singing the words. His soul and his voice find themselves at home here.

And so, a new rendering is born.

And, like Thesius’ ship…why pick one: each ship, at this time, is a unique “event.” Nothing stays the same, ever; everything is in perpetual change.

The bottom line is, authenticity. To the naysayers, we’re here to be the other voice. And it was a sight to behold. He gets it. He really gets it. He understands he is standing with legends. He is authentic in his feelings and that comes through his delivery. And he will die with the distinction of having stood next to them…masters at their craft.

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Yes’ Set List—
Songs played at the Ford Theater June 19th, 2018 (7:30PM-10:30PM)

Lineup: Steve Howe, Alan White, Geoff Downes, Billy Sherwood, Jon Davison (Guest: Tony Kaye)

1.Close to the Edge
2.Nine Voices
3.Parallels
4.Mood for a Day
5.Madrigal
6.Fly from Here
7.Sweet Dreams
8.Heart of the Sunrise
(Intermission)
9.Perpetual Change
10.Does it Really Happen
11.Soon
12.Awaken
(Encore)
13.Yours is no Disgrace
14.Roundabout
15.Starship Trouper