Anderson, Bruford, Wakeman & Howe
An Evening Of Yes Music

After a long legal battle, the magical word Yes finally appears in the title of this album by the group Anderson, Bruford, Wakeman & Howe. In my opinion, the work is worthy of such a name. The album features super-classics of Yes, tracks from ABWH, and a medley taken from Wakeman's solo repertoire. Thus, evaluating this work is extremely complex. We shall try.

The elements of the album that are not entirely convincing are:

1. Bassist Jeff Berlin, a giant of his instrument, there's nothing to dispute here, his performances in every song are impeccable, but excessive academicism can be a double-edged sword. It should be remembered that the bassist touring with ABWH was another phenomenal bassist named Tony Levin, with whom the band had also recorded the self-titled album. Unfortunately, on the night the album was recorded, he was not feeling well and was replaced hastily.
2. The electronic drums. Everyone knows that Bill Bruford from the early Yes and Bill Bruford from ABWH are two different musicians. The problem is that this drummer has always been unable to remain the same. He may have left Yes for this reason. In King Crimson and with UK, he had the chance to refine his art of complex polyrhythm, relying on increasingly elaborate and imposing electronic percussive equipment. Perhaps, this reunion was an occasion to return to more traditional sounds. But that's a personal opinion.

The things that go great are:

1. The quality of recording. Excellent.
2. The quality of the musicians. Apart from Berlin's academicism and the sometimes cold sound of Bruford's electronic rhythm section, both mentioned above, here we face the sacred monsters of rock. In short, these are the musicians that made the history of one of the greatest bands ever. Basically, only Chris Square is missing to reassemble Yes, with their best lineup ever.

That said, let's look at the details of this live album's tracks.

After the pompous orchestral introduction of Benjamin Britten's Young Persons, the acoustic medley of Time and a Word - Owner of a Lonely Heart - Teakboy is offered. And one thing becomes immediately clear: Jon Anderson is still one of the best singers on the scene, one of the few whose vocal and expressive abilities have remained unchanged over the years. Howe accompanies him in rhythmic changes, Wakeman fills in with his soundscapes. The reprise of Time and a Word is splendid.

The Clap - Mood for a Day adds nothing to the original versions, serving only to remind us of Steve Howe's brilliance.

Next is the triptych Gone But Not Forgotten - Catherine Parr - Merlin The Magician entrusted solely to Wakeman's hands: the great keyboardist indulges in dizzying virtuosity and scales that range from the highest pitches before plunging into the sound depths of his synthesizers.

The fourth track is Long Distance Runaround, introduced by a virtuoso piece by Wakeman. Perfectly executed. Noteworthy is Bruford's solo which occupies the second part of the track.

Birthright is a piece by ABWH, in the full style of the album: very melodic in the first part, rich in rhythmic changes in the second, and pompous in the third.

Finally, the two masterpieces of the album Close To The Edge. And You And I is extraordinary. Always one of the highest peaks reached by their production and here presented in an undeniable way. There's nothing more to say.

Close To The Edge is another fantastic song that does not need much introduction. Performed in its entirety, its twenty minutes unfold without the slightest hitch. Everything is extraordinary.

Also Themes, again from ABWH, is proposed in full, in its three parts carried by Wakeman's omnipresent keys, decidedly prominent. Overall, however, it is not too noteworthy a track.

Much better is Brother Of Mine, which, despite relying on very catchy melodies, seems to release a liveliness worthy of the traditional Yes. Anderson at his best, he seems not to even need to breathe.

Next is Heart Of The Sunrise, a track which, in my opinion, is one of the most beautiful songs ever composed. And its rendition in this album does not pale from the original. The end of the piece is like an explosion of energy that only a group like this can create. Anderson's voice ascending relentlessly over Bruford's rolls and Wakeman's symphonic chords is simply chilling.

Before the grand finale comes The Order Of The Universe, very catchy, maybe too much, it's a song I've never particularly appreciated, and the electronic drums are at times almost annoying.

As anticipated, we return to high levels with the super-classic Roundabout, once again perfectly executed.

Truly a good album, in short, that expresses its best when it presents the great songs of Yes, certainly one of the greatest and most influential bands on the progressive-rock scene.