Yes, English Quintet,
Performing at Whisky
Yes (appearing at the Whisky through Sunday) is blessed not only with a level of talent that borders on the staggering, but with a sense of proportion, a musical sensitivity and taste that make its music as captivating as anything that has bounced off the club's walls this year.
Lead singer Jon Anderson (who writes most of the material) is an unassuming presence and performer, but his clear, high voice rings with expression and conviction.
Guitarist Steve Howe and bassist Chris Squire are veritable whizzes on their instruments as well as providers of some stirring harmonies. Bill Bruford's drumming is solid and exciting, but it is the newest Yes, Rick Wakeman, who is attracting all the attention.
The keyboard wizard, who until recently wrought his magic Strawbs, seemingly never stops as his gliding hands create swirling patterns that soar above and dive below the main musical line. His multikeyboard solo nearly steaIs the show.
More than anything else, it is the English quintet's ability to come up with intelligent, memorable, uncluttered melodies and arrangements (particularly outstanding are "I've Seen All Good People" and Squire's bass workout on "The Fish") that sets it apart from the run-of-the-mill.
Yes' directness and penchant for sending out waves of good feeling disprove the prevailing (and well-founded) opinion that "progressive" rock has worked itself into a sterile and joyless corner.
In light of her 60s Motown classics (she was the label's first artist), Mary Wells' opening set was something of a disappointment. Not only should she deepen her arrangements with a brass section, but she should forget about trying to be contemporary-funky and get on with re-creating the sound that once made her a star. As it is, she presents a styleless and frustrating set of abbreviated memory-makers and forgettable blues.
-RICHARD CROMELIN
*Entry* Cover* 1* 2* 3* 4* 5* 6* 7* 8* 9* 10* Photo 1* Photo 2*
