29TH JULY MUD ISLAND, MEMPHIS 30TH JULY CHASTAIN PARK, ATLANTA 1ST AUGUST COLISEUM, HAMPTON 2ND AUGUST CITY ISLAND, HARRISBURG, PHILADELPHIA 3RD AUGUST SPECTRUM, PHILADELPHIA 4TH AUGUST SPECTRUM, PHILADELPHIA 5TH AUGUST MERRIWEATHER POST, COLUMBIA 6TH AUGUST GREATWOODS. MANSFIELD 8TH AUGUST RIVERFRONT PARK, MANCHESTER 9TH AUGUST ORANGE COUNTY FARIGROUNDS, MIDDLETOWN 10TH AUGUST JONES BEACH, WANTAUGH 11TH AUGUST CIVIC CENTRE, HARTFORD 12TH AUGUST SEASHORE P.A.C., OLD ORCHARD BEACH 13TH AUGUST GARDEN STATE ARTS, HOLMDEL 14TH AUGUST RAIN DATE, JONES BEACH 15TH AUGUST PALUMBO CENTER, PITTSBURGH 16TH AUGUST BLOSSOM MUSIC, CUYAHOGA FALLS 17TH AUGUST CAYUAGA COUNTY FAIRGROUNDS, WEEDSPORT 18TH AUGUST DARIEN LAKE, DARIEN 19TH AUGUST PINE KNOB, CLARKSTON 20TH AUGUST POPLAR CREEK, HOFFMAN ESTATES 22ND AUGUST CNE, TORONTO 23RD AUGUST CIVIC CENTER, OTTAWA 24TH AUGUST FORUM, MONTREAL 25TH AUGUST AGORA, QUEBEC CITY 28TH AUGUST SUMMIT, HOUSTON 29TH AUGUST STARPLEX, DALLAS 31ST AUGUST SANDSTONE, KANSAS CITY 1ST SEPTEMBER RED ROCKS, DENVER 2ND SEPTEMBER PARKWEST, SALTLAKE CITY 4TH SEPTEMBER OPEN AIR THEATER, SAN DIEGO 5TH SEPTEMBER PACIFIC AMPHITHEATER, COSTA MESA 6TH SEPTEMBER GREEK THEATER, LOS ANGELES 7TH SEPTEMBER GREEK THEATER, LOS ANGELES 8TH SEPTEMBER COUNTY BOWL, SANTA BARBARA 9TH SEPTEMBER SHORELINE AMPHITHEATER, MOUNTAINVIEW 10TH SEPTEMBER CALIFORNIA EXPO AMPHITHEATER, SACRAMENTO
21ST OCTOBER EDINBURGH PLAYHOUSE 22ND OCTOBER EDINBURGH PLAYHOUSE 24TH OCTOBER BIRMINGHAM N.E.C. 25TH OCTOBER BIRMINGHAM N.E.C. 28TH OCTOBER WEMBLEY ARENA 29TH OCTOBER WEMBLEY ARENA 30TH OCTOBER WEMBLEY ARENA 2ND NOVEMBER BRUSSELS, FOREST NATIONAL 3RD NOVEMBER ROTTERDAM 5TH NOVEMBER HAMBURG 6TH NOVEMBER COPENHAGEN, FALKONER 8TH NOVEMBER OSLO, DRAMMENSHALLE 9TH NOVEMBER STOCKHOLM, ISSTADION 11TH NOVEMBER COLOGNE, SPORTHALLE 12TH NOVEMBER KASSEL, EISSPORTHALLE 13TH NOVEMBER MUNICH, SEDLMAYRHALLE 14TH NOVEMBER STUTTGART, SCHLEYERHALLE 16TH NOVEMBER FRANKFURT, FESTHALLE 17TH NOVEMBER WUERZBERG, CARL-DIEM-HALLE 18TH NOVEMBER BASEL, ST. JAKOBS HALLE 19TH NOVEMBER PARIS, BERCY 21ST NOVEMBER MILAN, PALATRUSSARDI 23RD NOVEMBER ROME, PALAEUR 24TH NOVEMBER MODENA, PALASPORT 25TH NOVEMBER GRENOBLE, PALAIS DES SPORTS 26TH NOVEMBER MONTPELIER, ZENITH 27TH NOVEMBER TOULOUSE, PALAIS DES SPORTS 29TH NOVEMBER BARCELONA, SPORTS PALACE 30TH NOVEMBER MADRID, SPORTS PALACE
MANAGEMENT: SUNARTS MUSIC LTD, BRIAN LANE, PETE SMITH COORDINATION: JOSH WARNER PRODUCTION SUPERVISOR: VAL DAUKST PRODUCTION LIAISON: NOCTURNE - PAT MORROW STAGE & SET DESIGN MARTYN DEAN, ROGER DEAN STAGE & SET CONSTRUCTION: TAIT TOWERS, MICHAEL TAIT PRODUCTION MANAGER: RON STERN STAGE MANAGER: RICK GRAHAM DRUM TECHNICIAN: CHRIS RANSON GUITAR TECHNICIAN: P.J.DEACY KEYBOARD TECHNICIANS: CHRIS MACLEOD, STUART SAWNEY LIGHTING DESIGNER: STEVE COHEN LIGHTING DIRECTOR: ALAN OWEN LIGHTING CREW: RUSSELL LYONS, MICHAEL GOLDBERG, JIM WOODWARD, PETER RADICE SOOUND CONSULTANT: ROY CLAIR MONITOR SOUND: BART ADAMS SOUND CREW: JAMES BANG, JAMES HORES RIGGER: ROBERT GRENIER CARPENTER: DON FINCH ASSISTANT TOUR MANAGER: PAUL SILVEIRA TOUR ASSISTANT: ANDY MALE TOUR ACCOUNTANT: PARIK BOUSAIDY TRUCKS & BUSES (USA): EGOTRIPS, JIM BODENHEIMER SOUND: CLAIR BROTHERS AUDIO LIGHTING/PRODUCTION: NOCTURNE USA TRAVEL: MODERN TRAVEL, BROOKS OGDEN, EUROPEAN TRAVEL: ABTRAN TRAVEL, TIM POULTON AIR TRANSPORTATION: CONTINENTAL AIRLINES, TONY ROBINSON AIR RESERVATIONS: SUE JEFFS AIR FREIGHT: AMI, KEVIN BELL IMMIGRATION: HOWARD KUSHNER, CAROLE SMITH BOOKING: USA - PREMIER TALENT, FRANK BARSALONA, BARBARA S KYDEL, JANE GERAGHTY INTERNATIONAL - THE AGENCY, NEIL WARNOCK LEGAL: BELDOCK LEVINE HOFFMAN, ELLIOT HOFFMAN, PETER MATORIN ACCOUNTING: STAINTON & SHAFTO - MARTIN STAINTON SIMLERS - JOHN GOLDRING ENTCO 2 - KATHY CLEVELAND E.G. MANAGEMENT FOR BILL BRUFORD: MARK FENWICK, CHRIS KETTLE BUDGET CAR RENTAL: DAVID BILLINGSBY KORG KEYBOARDS: MIKE KOVINS, BEN DOWLING CELESTION: MARTIN CLAYDON, PETER AMBROSE, MAX KAY P.R. HILL & KNOWLTON/YAMAHA: LIZANN PEPPARD ROLAND INSTRUMENTS: ALAN TOWNSEND, DAVE GREEN, JEREZ KAHAN CARNET: DENNY BALL FENDER GUITARS: DAN SMITH ST. LOUIS MUSIC: TOM PRESLEY, KEN HENSLEY
BILL BRUFORD PLAYS SIMMONS SDX ELECTRONIC DRUMS, TAMA ACOUSTIC DRUMS AND PAISTE METALS STEVE HOWE THANKS GIBSON & MARTIN GUITARS
MANAGEMENT ASSISTANTS: SHEILA KING, DIANE GILMOUR, CARLA BROWN, LISA & FERDIE SUPPLIERS: JOHN HENRY, PROJECT MUSIC, SOHO SOUNDHOUSE, NOMIS STUDIOS
SPECIAL THANKS TO ALL AT ARISTA RECORDS & BMG INTERNATIONAL, ESPECIALLY TO CLIVE DAVIS, ROY LOTT, HEINZ HENN
ARTIST & VIDEO LIAISON: TOM ENNIS
"BROTHER OF MINE" VIDEO: DIRECTED BY: STORM THORGERSON AND ROGER DEAN PRODUCED BY: LUKE THORNTON THROUGH BUSTER REAVLEY SUPERVISION: SCOTT SPANJIK
TOUR PROGRAMME: COMPILED BY ROGER DEAN, PETE SMITH, SARAH ELLIOT DESIGN & LAYOUT BY ROGER DEAN, MAGNETIC STORM LTD. GRAPHIC & PAINTING BY ROGER DEAN 1989 PHOTOGRAPHY: TONY MAY, MALCOLM HEYWOOD, MICHAEL PUTNAM MERCHANDISING: PETER LUBIN AND GERRY BARAD FOR BROCKUM CO. (NEW YORK, TORNATO, LONDON and SYDNEY) COLOUR REPROUCTION BY BLACKBURN GROUP, SHOREHAM-BY-SEA, SUSSEX PRINTING: HILL SHORTER LIMITED, ENGLAND
Our thanks to Douglas Gottlieb and Yes Magazine. For Fan Club Magazine info, write to Douglas and Glenn Gottlieb, 12 Chelsea Pl., Dix Hills, N.Y. 11746-5414
"Be gone you ever piercing Power play machine. Cutting our musical solidarity For those who would break the windows Of our true reflection. And perception of the world.
For I am out of thee with a vengeance"
Just (part of) one of many songs written by Jon Anderson while staying on the island of Hydra durirng the summer of 1988. Anderson's protracted stay in Greece last year can, in effect, be termed a turning point in his career since it coincided with a growing realisation that the way forward was not a return (both musically and emotionally) to Los Angeles. "I'd recorded three albums there and discovered things that altered my whole perception of the world we live in."
On returning to London, Anderson contacted Steve Howe, Bill Bruford and Rick Wakeman - formerly vital elements with Anderson in what many still regard as the quintessential line-up of YES. "I felt that if we banded together again our music and ideas could jolt us FORWARD to our true destiny. The musical dreams that we'd started together during the Seventies could and would surface again and again. In my own mind there was no question, this was IT! I realised that although we had been far, far apart over the years, a new wave of energy was going to be unleashed. Just as it was on 'Fragile', 'Close to the Edge' and our other music throughout that era... Resolve and reorganise!"
ONWARDS & UPWARDS
On meeting up with Steve Howe, the first piece he played Anderson was the chorus of what would become "Long Lost Brother of Mine"... very appropriate. As songs and ideas flowed, the pieces of the jigsaw began slowly to fall into place.
Bill Bruford was similarly enthusiastic about the project. "As we talked the ideas through, Bill embellished our musical thoughts via his new, computerised kit. The sounds were amazing." In addition, it was Bruford who suggested that if this group was to do the right thing, both musically and with spirit, Tony Levin should be included to play bass.
Rick Wakeman's prodigious talents hide behind a calm, cordial schoolboy exterior. "He has a explosive power such that, without pressure, he can perform like no other in Modern Symphonic Rock Music." In Wakeman's mind there were no questions other than... when did they begin (again).
Initially, Jon wanted to bring the music and players together in one new and special location. He took the next Sunday out to fly to Paris and check-out some leads on studios. One long day later the Chateau de La Frette was booked for a five week sojourn and the musical ideas began to flow as aurely as the River Seine at the end of the drive.
With the arrival of Steve, Rick and Bill, songs were collaborated and refined - the original spirit of the group's combination came together within the walls of the Chateau. Most important, no rules were made for any set lengths or musical styles for the songs and, as a result, the group emerged from Paris having synthesised such different 'feels' and 'styles' as 'Teakbois' and 'Order of The Universe' and with over an hour of music to record. Interestingly, once the material had been brought together in Paris, the sequence of songs took on a natural order of their own and that stayed in plae (from 'Themes' to 'Let's Pretend') right through.
Next stop, Montserrat, in the Caribbean. And, as Jon took Continental 31 to Miami before Christmas he noted Bill's idea to ask Tony Levin to play bass. Three weeks later Tony took the island taxi from Antigua to Montserrat to join Bill in recording the master takes. Six weeks later, with all the music down on tape, the group was ready to ask Steve Thompson and Mike Barbiero to put the final mixes together in Bearsville, with Jon at their right hand. Ten days of hard studio work ensued before, on one cold Friday afternoon in March, Roy Lott and Tom Ennis took the drive up from Arista Records in Manhattan to preview the album just completed in Bearsville Studios. They would come back wih great news for Arista, and leave the group with big smiles all round, soon to he shared with their fans and their loyal audiences at radio and in concert.
On a creative level, one final part of the jigsaw remained. "Musically, I always think of our songs as stage songs, relating to a show. And there is only one person who is able to realise the visual dream from album cover to staging." The great reunion of ideas was completed with Roger Dean agreeing to work on all aspects of design for the Group. Dean, famous for his wildly imaginative pieces of art which have graced most of the previous YES album covers, recently flew in from Spain to Arista's New York headquarters for a marathon signing session in which he signed some 5000 souvenir poster that feature the new album's art. After 15 straight hours of signing, Dean then flew back. The last time he had signed a piece of art (Topographic Oceans), the piece sold for $56,000. Roger's brother, Martyn, is now utilising Roger's creations for the group's stage show.
Steve Howe, in conversation with Jon Anderson last year, asked, "When do you think we'll become a group?" His reply was, "As soon as we step on stage together."
Whatever you call it... Yes music, Now music, This or That music - Anderson, Bruford, Wakeman & Howe believe in their concept of putting together a modern performing orchestra of sound, vision and SONGS.
Words from Hydra
To jump into the arena with truth As your witness and shield Be gone forever rumours and ideals Of the fortunes of lifes realisations For I am out of thee with a vengeance.
I fly to your tenderest love And clearly I claim my right to you song For I am forever shielded By the countenance of music And this universal love.
Blind me with your strings And horns of harmony and desire And let the phantoms of living be gone.
For now let me hear and see The universal smyphonies Forever first and foremost Let me bathe in the crashing cacophony Of my wild imagination.
I'll spell this out fast and quickly Be gone you ever piercing Power play machine Glorifying the speed of the day.
Be gone forever in my life My decision is total I am out of thee with a vengeance I am out of thee with a vengeance.
Jon Anderson exudes an infectious optimism that has propelled "Yes" through the seventies and eighties, and now seeps deep into "Anderson, Bruford, Wakeman, Howe" as they prepare to take on the nineties. His distinctive songwriting and unmistakable vocal performance are very much key factors in this new musical driving force. For Jon, artistic commitment and musical integrity form the real foundations. The music of ABWH marks the most active and creative time in his productive career. Jon has always strived to expand the musical horizons rather than jump into the mainstream.
Apart from songwriting and performing, Jon has also taken the chair of record producer for the project, alongside Chris Kimsey, caretaking the musical direction with his unusual feel for original sound right through to the final mixes with Steve Thompson and Mike Barbiero. Jon takes a great interest in modern recording techniques, and has always been a pioneer with the technology. For the stage show, his input for Roger and Martyn Dean has been truly collaborative and lies behind much of the imagery and visuals that make the shows so special. The music is very much made to order and Jon is the master tailor.
Away from the studio and stage, Jon spends his time with his beautiful wife Jenny, and their family, Deborah, Damion and Jade. This is the well of enthusiasm and encouragement from which he draws his ideas. "With ABWH everyone is in tune with the original ideas, the plan and everyone works towards that plan". Never short of motivation, Jon has recently completed a stunning new "Jon & Vangelis" album in Rome, and is developing musical projects for Modern Theatre into the 90's. In addition, his support of the indigenous peoples of the world and the struggle for true identity by all ethnic groups is very important to him and is evident in the new song, "Birthright".
For Jon, the whole idea for "Anderson, Bruford, Wakeman, Howe" is simply to make great music, away from the blinkers, rules or formulas, and as he says, "We want to play - once you get on stage it is a great event, a chance to perform the music honestly..."
Bill Bruford grew up with jazz. As an amateur drummer in the 1960's and after a handful of lessons from Lou Pocock of the Royal Philharmonic Orchestra, began his professional career in 1968. He was a guiding light in the so-called British 'Art Rock" movement, touring internationally with "Yes" and "King Crimson" from 1968-74. There then followed several years spent observing and participating in the music making processes of, among others, Gong, National Health, Genesis, and U.K. until Bill felt ready to write ond perform his own music with his own hand, Bruford, recording four albums from 1978-80.
It was, however, the reconstituted King Crimson of 1980-84 that provided the vehicle for his revolutionary use of the electronics in developing the melodic side of percussion. Following an interim two year - two album stint improvising on acoustic piano and drums with Patrick Moraz, Bruford formed his current electro-acoustic jazz group, Earthworks, in 1986 with Django Bates and Iain Ballamy, specifically to continue this work on melody from the drum set, but now in a jazz context. The group recorded its first album in 1986-7, and a second, "DIG'?", was released in the spring of 1989. Bill has also made time recently to record and/or tour with Kazumi Watanabe, David Torn, the New Percussion Group of Amsterdam, Jamaaladeen Tacuma, Akira Inoue and Al DiMiola among others. His most recent collaboration is with the new Anderson, Bruford, Wakeman, Howe group.
Bill Bruford lives in the Surrey Hills with his wife, three children, and a tortoise.
CURRENT DISCOGRAPHY Bill Bruford can also be heard on: Bill Bruford: Masterstrokes EGLP 67 Bill Bruford's Earthworks: Earthworks EGED 48 Bill Bruford's EarthworL:s: DIG? EGED 60
1989 sees the 20th anniversary of Rick Wakeman's arrival on the rock music scene, which saw him perform "Mellotron" on David Bowie's legendary "Space Oddity" in July 1969.
Much has happened during those twenty years... A short spell of a year and a half with 'Strawbs' over 2'000 sessions (which included work with Marc Bolan, Lou Reed, Black Sabbath and Cat Stevens to name but a few), two spells with Yes, (1971-1974 & 1976-1979), ten films which include Ken Russell's Listzomania and Crimes of Passion, over 250 world wide video appearances and amongst all that has still found time to do numerous solo tours around the world and produce 24 solo albums.
His 'wild man of rock' days are now long since past, and the tee-total, non smoking Rick lives in the Isle of Man with his wife Nina and their children, and share an idyllic life along with the 75,000 other occupants of this small island who no longer wish to surround themselves with 'Big City' and 'Big Country' pressures every day of their lives. The island is also blessed with seven golf courses and Rick (handicap 15) is an avid, if not fanatical golfer.
Classically trained for 15 years, both privately, and at the Royal College of Music in London, his love for all sorts of music led him to believe that a wide diversity of musical fusion was an exciting poissibility for a stagnating pop industry, and amongst his fellow musicians within Yes, found common ground and the rest is now history. All this of course demanded much more from instrument manufacturers and Rick was very much a pioneer in the front line throughout all this, and has many fond, funny and frustrating memories from this period.
ABWH, he firmly believes, has given him and his fellow musicians the opportunity of fulfilling a 'musical task', left very much unfinished when the four of them went their separate ways.
A double portion of ambition and dream for the 90's.
Seven principles of the order of the universe
All things are differentiated apparatus of one infinity Everything changes All antagonisms are complimentary There is nothing identical What has a front has a back The bigger the front the bigger the back What has a beginning has an end
@ George Ohsawa Macrobiotic Foundation 1544 Oak St Oroville California CA95963
As a musician the respect which Steve Howe individually commands is awesome. Collectively, with Jon, Bill and Rick that becomes awe-inspiring. His achievements as a player are all the more impressive when combined with the performance of his own songs and material. Indeed as a writer and especially with Jon, Steve has most often been the creative force behind the music as well as the playing. Although Steve prefers to list himself under the heading of 'guitarist', his work with Yes, Asia, GTR and ABWH bears witness to the fact that it's impossible to cram him into any one musical pigeonhole.
While his music first took roots amidst the same late 50's/early 60's influences that sparked off just about everybody in British rock, it subsequently developed in a number of different directions. Steve's total fascination with the guitar and its seemingly endless possibilities is underscored by the fluid, unique and striking approach to rock that he's made his own.
Whether working with the group or developing his own solo projects, what Steve Howe plays is modern guitar - drawing in influences, concepts and techniques oftenremoved from the flows of the mainstream rock and expanding on them with taste and style.
Steve Howe has appeared on various albums as a guest guitarist and recently he participated in the "Night of the guitar - guitar speak" project and has prepared two albums with a Swiss keyboard player called Paul Sutin. Steve has also just completed his forthcoming solo album - "Turbulence".
With his involvement in Anderson, Bruford, Wakeman, Howe, Steve has once again enjoyed his song-writing input, especially with Jon; the creation of new musical styles, parts, and arrangements with the other members; and played an important part in working-out the visual side of the project with his friend, Roger Dean. His spirit of adventure is paramount.
Master of the "stick" bass which has become his trademark, Tony Levin is one of music's most sought after talents. Tony's resume reads like a rock 'n' roll "Who's Who": John Lennon, Pink Floyd, Peter Gabriel, Paul Simon. All have been the recipient of Tony's prodigious mastery, among many famous others, including King Crimson, the seminal art rock band, where he joined drummer Bill Bruford for three albums and world tours from 1981 to 1984. So when the "group" got together, there was only one spot to fill. One person, vocalist Jon Anderson explains, "When you think of bass playing, especially Yes kind of music, you can't compromise. That Tony could come along was very important. His emotions, attitudes were perfect." Tony Levin is also a gifted photographer with a book, "Road Shows", that has received praise from both music fans and art critics.
Milton was first invited to become part of the musical team in November of 1988, soon after the band had set-up creative shop at the chateau studio De La Frette just outside Paris. Quite simply, his talents had been recommended to Jon by too many musicians to be ignored. His 16 years of schooling in guitar playing, and especially live work in London with well-respected scratch bands on a regular basis, suggested a potential for him to be the perfect guitar work-mate for the project, and an ideal partner to work with Steve.
For his own part, Milton thrived as part of the pre-production team, realising various ambitions to work with most of the Yes musicians in his record collection, and half of King Crimson. Naturally, a mutual respect was established in Paris which has led to him being asked to be an important part of the live show. The musical complexities of the "Anderson, Bruford, Wakeman, Howe" record, and the new approach to the classic material are very demanding and require the speed, skills and technique of this young talented player.
Milton lives in West London with Astrid and their young daughter Terri-Louise.
Having realised by the age of ten that he wasn't going to make it as a concert pianist, the year being 1962, Julian Colbeck quickly deviated into rock 'n' roll.
His first band, the oddly named Greep, signed to Charisma in 1973, enjoying no particular amount of success over the next year or so. Stints as MD of London's Albany Theatre, and keyboardist for a succession of British touring bands were to follow.
One such was Charlie, a band that Julian joined during the making of their No Second Chance album (Janus/ Polydor) in 1977; over the next few years co-writing and co-producing subsequent albums - Lines (Janus/Poydor), Fight Dirty (Arista/Polydor), and Here Come Trouble (Polydor).
After a spell in theatre in Los Angeles Julian returned to the UK as keyboardist for John Miles, undertaking several British and European tours.
Since the mid-eighties Julian has combined session playing with writing, the first edition of Keyfax - the buyer's guide to synths - published by Virgin in 1985. Other books includes Keyfax -2 & 3, Rockschool, Zapppa, and the bravely titled How To Make A Hit Record (Pub: Sept '89).
It was Julian's recent work with Alan Parsons that brought him to the attention of Jon Anderson. The offer to work with four of the most respected names in the music business on their most ambitious live project to date was made. Needless to say it took Julian all of a nano second to come up with the answer, but for legal reasons we can only say it was a three letter word indicating the affirmative.
Julian is married to dancer/photographer Annie and they live in Henley-on-Thames with their new daughter Abigail.
"...For the past 20 years I've been searching for a monitor system that would give me a sound quality at all levels of performance, and for the past 20 years I've had to live with compromise. Embarking on a worldwide tour with Anderson, Bruford, Wakeman and Howe, such a compromise was not a mission I relished. However, whilst trying out new monitor systems prior to rehearsals, I discovered the Celestion SR Series monitor system. I am pleased to announce I have now solved my monitoring problems for the next 20 years. It could probably solve yours too..."
For Further information:
Celestion International Ltd. Foxhall Road Ipswich Suffolk IP3 8JP England Tel: (0473) 723131 Fax: (0473) 729662 Telex: 98362 DITTON G
Paiste cymbals sounds and gongs are developed according to the sound needs of creative drummers and percussionists.
They come to us, we go to them. We meet at concerts and festivals. Together we look for new sounds. We find a common language to express it in words. We lay down the sound character.
Then, we make that sound.
"STEVE HOWE AND GIBSON - TWO ROCK LEGENDS" Steve Howe
"I have been playing Martin guitars since 1968, and there really isn't a better acoustic guitar."
Jon Anderson and Rick Wakeman use Korg Musical Instruments.
Every success to An Evening of Yes Music. Plus YAMAHA a powerful combination