'89 World Tourbook
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Anderson, Bruford, Wakeman, Howe - "An Evening of 'Yes'
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,
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
USA TRAVEL: MODERN TRAVEL, BROOKS OGDEN,
EUROPEAN TRAVEL: ABTRAN TRAVEL, TIM POULTON
AIR TRANSPORTATION: CONTINENTAL AIRLINES, TONY
AIR RESERVATIONS: SUE JEFFS
AIR FREIGHT: AMI, KEVIN BELL
IMMIGRATION: HOWARD KUSHNER, CAROLE SMITH
BOOKING: USA - PREMIER TALENT, FRANK
BARSALONA, BARBARA S KYDEL, JANE
INTERNATIONAL - THE AGENCY, NEIL
LEGAL: BELDOCK LEVINE HOFFMAN,
ELLIOT HOFFMAN, PETER MATORIN
ACCOUNTING: STAINTON & SHAFTO - MARTIN
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
HILL & KNOWLTON/YAMAHA: LIZANN PEPPARD
ROLAND INSTRUMENTS: ALAN TOWNSEND, DAVE GREEN, JEREZ
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 &
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
SUPERVISION: SCOTT SPANJIK
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,
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
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"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
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
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
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.
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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
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
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.
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
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
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
1544 Oak St
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 -
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
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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
Milton lives in West London with Astrid and their young
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.
Suffolk IP3 8JP
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
Then, we make that sound.
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"STEVE HOWE AND GIBSON - TWO ROCK LEGENDS"
"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