Martin Selbrede

Color me a sympathetic critic who recognizes that Yes fans will divide over this bold experiment. If nothing could have gone wrong, it wouldn't have been bold to try it. This MIGHT have worked if someone other than Groupe had orchestrated the pieces (someone with a greater affinity for the peculiar balances arising in even violent Yes sequences -- an orchestrator as attuned to Yes as, say, David Bedford was to Michael Oldfield, excepting that orchestra + rock group is even more challenging). Miscalculations in the score abounded, turning haunting passages in GoD ("listen...should we fight forever?...) into trite superficiality with interposed string pizzicati afterthoughts. Ending GoD with an effulgent, loud orchestral chord jazzed the audience, but on reflection, it spoiled the irenic intent of the original ending (not to mention that the original coda was more colorful (!) than the new orchestral one). The battle scene of GoD began as a confused rhythmic mess while the famous B-major chord hung suspended in mid-air. The timpanist apparently got lost (conductor Groupe's cheironomy -- his baton technique -- could use some work, especially given the inadequate rehearsal time accorded these pieces). CTTE seemed both muddy and sloppy, with the orchestra overlaying sonic embroidery of dubious value throughout (gilding the lily, as it were). I suspect others will point out the individual gaffes of our heros in other reviews (Alan White will surely come in for his share of embarrassment over his premature entrance during "In the Presence of," which he, ironically, co-wrote). BTW, I first saw yes in 1975, then picked up with them again in 1998 and 2000. Hope one day they try to do Soundchaser live -- now, THAT would be REALLY bold! Okay, back to the review: vocals were well-performed, the mix appearing to improve throughout the night (perhaps not so much due to remixing the vocals as to adjusting instrumental balances against them). Keyboardist was no worse than Igor (if you closed your eyes), even with respect to balance issues, BUT when you opened your eyes, you couldn't help but realize that Igor was more authoritative at the consoles than Tom. There will never be a perfect Yes keyboardist (not even Wakeman, because he resists playing anything off of Relayer, which IMHO mars his suitability). I think they should bring back Moraz, but Jon and Chris haven't asked for my input on this (neither will they ask you yours, so I'd guess we're all even debating this old chestnut into the ground). Okay, final assessment: the road to Yessymphonic was paved with good intentions, but integrating orchestras and rock groups is a tricky business. They learned from ELP's experience not to bring an orchestra in tow (since that can bankrupt you pronto), yet fell short of achieving the integrations found in, e.g., ELP's "Pirates" (which is itself imperfect, but certainly closer to the ideal). I could be compelled to change my mind if a superbly mixed recording of Yessymphonic put all the balances right and shed more favorable light on roupe's handiwork -- but judging from this evening's results, I'll have to entertain doubt about that possibility. To whatever extent Yes played tighter than in Masterworks (which I caught in Hartford), it was overshadowed by synchronization issues with the orchestra. Don't paint me a cynic -- I flew to Concord from Austin to hear this. Yes played great, but the problem is simple to identify: "It's the orchestra, stupid." This could be fixed without dropping the orchestra, but I suspect that will take a LOT of work, and Groupe is probably not the one to handle it. Maybe Bedford, Godfrey Salmon, or, who knows, Michael Torke!

before 'Don't Go'

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before 'In The Presence Of'

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before 'Gates Of Delirium, The'

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before 'Wonderous Stories'

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before 'Perpetual Change'

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before 'And You And I'

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before 'Ritual'

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before 'I've Seen All Good People'

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before 'Starship Trooper'

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