Tag: Simon Phillips

Review – Sherinian/Phillips – Live – by John Wenlock-Smith

Derek Sherinian is a fine creative and accomplished keyboard player who’s CV includes stints with Kiss, Alice Cooper and Billy Idol, to name but three. He was also a member of Dream Theater and has made eight solo albums, which are usually made in tandem with Simon Phillips, who has an even more impressive CV, with the likes of Judas Piest, Jeff Beck and, latterly, Toto. Simon also had his own group, Protocol, who have released five albums thus far in a similar fusion type style.

Derek and Simon both share a love of fusion, which mixes jazz and rock elements together in a shimmering stew of musical chops. Normally Derek uses a whole slew of well know guitarists, which is definitely interesting, especially as he tends to play a more supportive role rather than be keyboard heavy and laden. He is very much a team player, whose aim is for the music to be the star rather than his own chops. Simon is of a similar persuasion and he is content to be a solid rock from which others can soar!

Well that is certainly the case here, this album features four good musicians who have played together previously and enjoy each others company and playing. The band is Derek Sherinian (keyboards), Simon Phillips (drums), Ron “Bumblefoot” Thal (two necked guitar) and Ric Fierabracci (bass). These four can definitely play up a veritable storm, this album was recorded at The Grape in Ventura, California on August 29th, 2022 and this live album is the result of that rather unique show.

The album has eleven tracks, three taken from ‘The Vortex’, three from ‘The Phoenix’, one from ‘Inertia’ and one from ‘Mythology’ . Of the two additional tracks, Barnacus is a drum solo from Simon Phillips.

Most of these tracks replicate their studio incarnations without really adding very much or varying from what was originally created. Which kind of begs the question ‘Why?’, what is the point of all this? Ye, its all very listenable, technically accomplished and exciting but it is ultimately one that falls short by offering nothing very new or different to what is already known and already available. Also, I think they missed an opportunity to include the filming that took place that evening, as that would be a good addition and offer some added value to this album.

The music that is here is excellent extremely well recorded and delivered but, for the reasons stated, probably won’t get heavy rotation with me because, much as I like Derek’s music, on this occasion I wanted something more. What is different, I suppose, is that these four musicians are replicating parts played by others, like The Vortex, which ŵas recorded with Steve Stevens on guitar and Tony Franklin on bass. Here those parts are played to perfection by Ron “Bumblefoot” Thal and Ric Fierabracci respectively. This makes it interesting to compare the versions also, live, it is very slightly longer in length, although what the additional sixteen seconds are is not easily ascertainable, I guess it could be at the start of the track with the crowd noise?

Empyrean Sky gives opportunities for Derek to really lay down some strong Hammond Organ tones, which he does remarkably well, and his interplay with Bumblefoot is exciting, if a tad brief. In fact several of these tracks would have benefitted from a more expansive time to allow further improvisation and room to explore the material more fully. Temple of Helios is another example of where extension would have greatly improved the track. This truncation is frustrating when a band as talented as the guys are are held back and unnecessarily restrained from really letting fly.

Whether there were time constraints or something else is not clear and I guess we’ll never know but, aside from that, this album deserves more than it delivers, it’s good, whereas it could have been so much more, it is a real missed opportunity by Inside Out.

Still, what is here is very good, I just wish it was either a double CD or had a DVD of the events with rehearsals and interviews and other extras added for completeness. So, again, my question is Why?

Released 25th August, 2023.

Order the album here:

Derek Sherinian, Simon Phillips – Inertia (Live 2022) (lnk.to)

Derek Sherinian and Simon Phillips to release ‘SHERINIAN/PHILLIPS LIVE’

First single “Aurora Australis (Live)” out now!

SHERINIAN/PHILLIPS is the musical alliance of Derek Sherinian and Simon Phillips, whose parallel reputations in virtuosic sonic inventions combine on the backdrop of instrumental genre fusion. Though the two had written and recorded together in the past, commitments to other projects had kept them busy in their own circles for a time. Upon their reunion for the recording of 2020’s The Phoenix, the duo has been going strong with consistent new releases ever since. Now, they are pleased to announce the release of SHERINIAN/PHILLIPS LIVE, which exhibits the pair uniting once again for a collaborative effort, documenting a special concert recorded at The Grape in Ventura, California on August 29th, 2022. The set is due out on August 25th, 2023 on InsideOutMusic.

Joining Sherinian/Phillips are fellow creatives Ron ‘Bumblefoot’ Thal on guitar and Ric Fierabracci on bass to round out the lineup of the evening. Several tracks from the latest studio album offering, Vortex, made their way into the set, such as the title track “Vortex”, “Seven Seas”, and “Aurora Australis” (the original recording of which featured Bumblefoot), alongside other instrumentals.

You can check out the performance of “Aurora Australis” now here:

Derek Sherinian, Simon Phillips – Aurora Australis (Live 2022) – EP (lnk.to)

SHERINIAN/PHILLIPS LIVE has every note – planned or jammed – captured like lightning in a bottle, taking listeners to the moment these sounds sparked from their instruments. The live performance sits naturally in a rock context, while reminiscent of jazz fusion concert structures, with room for each musician to stand out in a solo space, each carrying and trading unique melodies along the way.

Derek Sherinian: “After 20 years of making albums together, it was a great pleasure bringing this music to life with Simon for the first time.”

The album will be available in the following formats:

Black Vinyl | Ltd. CD Digipak | CD Jewelcase (North America)

Pre-Order is available via this LINK 

“Sherinian/Phillips”:

1. The Vortex (04:43)

2. Empyrean Sky (04:20)

3. Temple of Helios (06:17)

4. Inertia (04:32)

5. Alpha Burst (04:01)

6. Barnacus (03:32)

7. Seven Seas (05:51)

8. Ascension (02:48)

9. The Phoenix (04:55)

10. Introduction (00:31)

11. Aurora Australis (11:27) 

Line-Up:

Derek Sherinian (keys/synth)

Simon Phillips (drums)

Ron ‘Bumblefoot’ Thal (guitar)

Ric Fierabracci (bass) 

Sherinian’s background as a composer and keyboardist extends well beyond his familiar Dream Theater run, with a notable solo career creating a landscape for contributions from an array of acclaimed musicians, alongside performance credits with the likes of Alice Cooper, Black Country Communion, Billy Idol, Whitesnake, Kiss, Black Label Society, and Sons of Apollo (doubling on production credits), among others. 

Phillips has equally rooted himself as a well-respected drummer and composer in the rock, metal, and jazz worlds, with credits ranging from Toto, Judas Priest, Jeff Beck, The Who, Whitesnake, and Joe Satriani, to a discography in jazz fusion with Protocol, movie soundtracks, and beyond. 

The diverse range of this pair’s individual talents collectively emerges through each work they craft together; Sherinian and Phillips continue to evolve their joint musical endeavors in new directions. 

Review – Derek Sherinian – Vortex – by John Wenlock-Smith

Derek Sherinian is very much a keyboard player of the new millennium. Born in California in Laguna Beach in 1966, he has worked with many of the world’s finest progressive and metal groups, either as a member or a touring musician. His latest venture being with the progressive metal super group Sons Of Apollo, where, alongside Mike Portnoy, Billy Sheehan, Ron ‘Bumblefoot’ Thal and Jeff Scott Soto, they offer a very sophisticated and earnest progressive metal sound.

Alongside this activity Derek is also a solo artist has produced no less than nine solo albums of which this one, ‘Vortex’, is the latest. Unusually, he likes to play off against some of rock’s finest guitarists as he enjoys the challenge this offers, plus he is a big fan of guitars and their exponents!

This means that his albums have featured many of rocks finest six string heroes, including Zakk Wylde, Steve Vai and Joe Bonamassa, amongst others. This album continues that tradition with the prowess of Zakk Wylde and Joe Bonamassa appearing once more, along with Steve Lukather of Toto, Nuno Bettencourt of Extreme and the legendary Michael Schenker, the album also features Ron Bumblefoot Thal and noted jazz guitarist Mike Stern. Also present are Tony Franklin on bass and Simon Phillips, who not only provides the drums but also produced the album with Derek.

So we have a stellar line of talent, but is it any good you ask?

Well the answer is a resounding yes! It’s a very fine album with lots of exciting solos and performances, the only downside for me is that, good as these players are, the lack of vocals means this can be seen as very high class muzak at times as it is an intense listen and not something that you can play in the background really. It requires active listening to really get the most out of it all, well, in my opinion anyway!

The album opens with the strong track The Vortex which has Steve Stevens of Billy Idol fame providing some fiery guitar tones and lines. Derek’s music is often jazz/fusion in style and tone, as he feels that it allows him freedom to express himself. Opening with a torrent of synthesisers and some hard hitting drumming, this is a ferocious, attacking number with a strong melody that allows the guitar to break through at points, especially for the solo. It’s all very rhythmically driven and is a good opener really, but it does set the stall for much that follows. While there is little doubt of the quality of the musicianship, for this listener, it really does call for some vocals that could enhance what is already on offer and allow the solos to be as appraiser rather than a continuous cycle. Fire Horse follows and features Nuno Bettancourt (Extreme) who shreds freely over the track but, again, while his playing is fluid and impressive, I feel it is all showmanship without a ‘proper’ song to support it. To me, you could say it feels a little empty, all very  worthy but really needs to be in support of, rather than being, the main attraction.

Third track The Scorpion fares better featuring Derek’s very Keith Emerson like piano to fine effect, along with some fabulous bass work from Ric Fierabracci, who plays some great fretted and fretless bass lines. Also noteworthy is the track Seven Seas with Steve Stevens again and also, who provides sterling bass work. This is a real monster with great playing and very fluid guitar lines from Stevens, who again proves himself to be a formidable player who can shred with the best of them, a really impressive track.

Key Lime Blues features both Joe Bonamassa and Steve Lukather trading licks in a really funky sounding number similar to Bonamassa’s Rock Candy Funk Party sound and excursions of previous years. Again, this is a launching pad for wild solos from all concerned but it sure does sound good. There is also a superborgan part from Sherinian which adds to the track significantly. Die Cobra features the unusual combination of Zakk Wylde and Michael Schenker playing and trading guitar riffs, lines and fills. It is quite a thunderous track with an aggressive sound before slowing to a more melodious section where you hear some typical Schenker tones and sequences that wouldn’t sound out of place on an early MSG album. The track then reverts back to the harder edge initial sound. These two work well together which, when you consider it was all done remotely, is very impressive sounding indeed! It also has a touch of the middle east to it, not unlike Gates of Babylon by Rainbow, a really strong track all together.

Nomad’s Land is very straight ahead jazz/fusion with noted jazz guitarist Mike Stern shredding his licks all across the track. Again, Derek plays organ very strongly and it sounds like a jazz take of Jon Lord! It’s really strong stuff with a fluid solo from Mike and more organ fills from Derek, this one is another that really impresses, even without vocals. The last track Aurora Australis is also the longest at over eleven minutes and features his Sons of Apollo bandmate Ron ‘Bumblefoot’ Thal. The piece opens with lots of synthesisers and a steady Simon Phillips‘ drumbeat before more Hammond Organ from Derek. All hell then breaks loose with more wild keyboards and a solo synth line from Derek, all whilethe track is gathering speed and pace for a guitar and keyboard battle between Derek and Ron. This has real urgency to it and sounds utterly amazing, musicians at the top of their game reaching for new heights and actually reaching them too.

All in all it’s a great album, you can feel the chemistry that Derek Sherinian has with all the guests and it’s great to hear and experience in this way. I still think vocals would raise the album to even greater heights but, then again, that’s just my opinion! It’s still a very good album that’s well worth listening to.

Released 1st July, 2022.

Buy the album here:

Vortex (lnk.to)

Review – Sanctuary III – Robert Reed – by James R Turner

Since Robert took some time out of the ‘day job’ to release his first homage to Mike Oldfield back in 2014, his own little sub-genre has grown, with two full length sequels (‘Sanctuary II’ in 2016) as well as numerous EPs including variations on David Bedford and his own alternative take on the Doctor Who theme tune. Now Sanctuary III (funnily enough the third in the ‘Sanctuary’ series) is here, available as ever in 5.1 and on vinyl, in a very nice cover indeed.

Rob has taken the ‘if it ain’t broke, don’t fix it’ philosophy to this album, with, as per the first two (and indeed Mike Oldfield’s first three) albums, being a full-length song-suite parts 1 & 2, both emulating the Oldfield approach, which worked so well on ‘Sanctuary’.

Rob has worked with Oldfield collaborators Simon Phillips, Les Penning, ‘Tubular Bells’ producers Tom Newman and Simon Heyworth and on vocals with Angharad Brinn and Synergy Vocals.

Now I am a massive Mike Oldfield fan, and I would argue that its harder to find a greater run of albums than that encompassing ‘Tubular Bells’, ‘Hergest Ridge’, ‘Ommadawn’, ‘Incantations’ and ‘Platinum‘, and, as with previous ‘Sanctuary’ releases Rob wears his Oldfield inspiration on his sleeve. This is as well as showing off his amazing instrumental prowess as a multi-instrumentalist, playing all the instruments bar recorders and pipes, which are contributed by Les Penning and Troy Donockley respectively.

The themes throughout are standard Oldfield fare with plenty of soaring guitar and repetitive, charming themes that slowly build and grow and, to Rob’s credit, he has widened the palette somewhat on this album. There is an excellent vocal piece at the start and an interesting diversion into folk themed parts via the twangy guitar of The Shadows at one point.

However, there is a touch of an over reliance on the nonsense female vocals that are almost ‘Ommadawn’ but miss out the emotional resonance of that piece and also of the vocoder vocals that sound like they escaped from Five Miles Out. These are familiar Oldfield tropes and ultimately trap the music into being a facsimile. Which is a shame, as if Rob threw out the Oldfieldisms, he could create some truly wonderful original music, instead of pretending it’s 1974 all over again.

That’s fine for a nostalgia trip but I would always return to the original rather than an imitation.

More interesting is the Moonsinger Suite, ChimpanA Remix which, whilst referring to the main Oldfield touchpoints, at least brings it up to date, being more reminiscent of ‘Songs of Distant Earth’ or ‘Tubular Bells III’ (so only 20 years out this time, getting closer!).

The Tom Newman remix on the second disc is also superfluous, being not quite different enough to the original to warrant being included here. Things like that are best suited for anniversary editions or special editions rather than the standard release, as it all gets a bit too samey after a while and you lose where you are at.

If you reading this are Mike Oldfield fans and wonder whether ‘Sanctuary III’ is worth a punt then, well, sadly not. Like I said, I really like Rob’s work, his musicianship and craft and skills are never in doubt and I really want to love this album, I absolutely enjoyed the first one as a piece of nostalgic entertainment. However it seems to me that Rob, whilst putting together an excellent facsimile of an early Mike Oldfield album, has drifted into tribute band territory. The music is good, the performances outstanding but it seemed to me that the Doctor Who theme tune a la Oldfield was an idea too far and ‘Sanctuary III’, whilst being well made, just doesn’t hit the spot.

It doesn’t give you the goose bumps that the opening riff to ‘Tubular Bells’ does, it doesn’t send the shiver down the spine that the closing finale to ‘Hergest Ridge Part 1’ does, and it doesn’t conjure up a sense of wonder like ‘Ommadawn’. Somewhere online I have seen people claiming that this is even better than Mike Oldfield or at least, that it’s better than the albums Mike makes these days. I doubt Rob was thinking of usurping his hero in that way, and ‘Sanctuary III’ doesn’t. It is the musical equivalent of a Big Mac meal, it satisfies at the time because it’s easy and familiar but, in the end, after ten minutes you’re hungry again and want a steak.

After listening to this all I want to do is grab ‘Hergest Ridge’ or ‘Return to Ommadawn’ in 5.1, bang up the volume and lose myself in the pastoral waves as they wash over me.

I would much rather wait and spend my hard earneds on the forthcoming ChimpanA album, as that debut is probably the best thing Rob has done outside of Magenta, being fresh, clever, original and contemporary.

The dictionary defines Sanctuary as ‘a refuge or safety from pursuit, persecution or other danger’ and this is definitely a refuge in the past, ultimately this music sits in a very safe place indeed.

‘Sanctuary III’ is fine as a nostalgia led piece but when there are so many interesting contemporary instrumental bands out there like Agusa or Zombie Picnic, revisiting music from 40 years ago isn’t pushing the boundaries, it’s more like a cup of tea and a pair of slippers, and a musical cul de sac.

Released 20th April 2018

Buy ‘Sanctuary III’ from Rob Reed Official Here

 

Review – Robert Reed – Sanctuary II – by Kevin Thompson

cover

So let’s get this out of the way, this is not Mike Oldfield!

What we have here is the very talented multi-instrumentalist, producer and composer Robert Reed, (of Magenta fame) with his follow up to the excellent ‘Sanctuary’ from 2014, on Tigermoth Records. Produced, mixed and engineered by Rob, and once again joined by the legendary original “Tubular Bells” production team of Tom Newman (who also plays a mean Bohdran) and Simon Heyworth, who have once again made important contributions to the sound of the album.

Rob was inspired to become a musician and composer at the age of seven after discovering Mike Oldfield‘s ‘Tubular Bells’. So inspired was he by the album, that he learned to play not just one, but all the instruments featured on the album. ‘Sanctuary II’ is a further opportunity to utilise his abilities as a multi-instrumentalist and create another album in this vein, available in various formats this is only a review of the main album.

So, how to review a follow up of the successful homage to an inspirational musician without mentioning him, let’s see…..

Rob Reed

The weather may be dubious at the moment and varies in light, shade and temperature, there is promise of sunnier climes and thoughts of holidays as PART I drifts into the mind. Birds swoop across the sky as you look out across the sea the sun breaks the clouds, then you are transported to  to some far flung land where natives of that country go about their daily tasks singing in harmonious tongue. Fishing nets are cleaned and hung out to dry in the warmth of the midday sun.

You lay back listening to the music your body warming like the nets, shaded by the nearby palms, eyes closed as the guitar drifts fluidly through your ears, caressing your senses.

The Synergy harmony changes to a more European flavour and you are swept away once more to a clearing in the English woods. The recorders of Les Penning and the twang of the banjo sparkle as the temperature of Simon Phillips’ percussion rises, guitars speeding round the trees, echoing keyboards and all dance in pagan celebration. Flowers are scattered in wild abandon as the frenzy reaches it’s peak and the harmonising gently brings it down again only to burst in quick flourishes, the dancers flushed with expounded energy and happiness, twirl and gyrate.

 The solo angelic voice of siren Angharad Brinn leads to muted guitars and a respite from the festivities. Waterfalls of tinkling keys ripple along a brook which runs through the woods and the native tongues stir the guitar again as you run without care through the trees. A gentle summer breeze and trailing foliage brush your skin as you trip through the greenery. The marimba and vocals join as flowers sway and turn their open faces to the sun’s rays, catching the light. You burst into the clearing again and fall to rest along with everyone else as the first half draws to a celebratory close.

banner II

A gentle guitar and timpani refrain float in the introduction to PART II, the small sail boat that carries you across the lake buffets against the rippling water as the breeze of guitars and accompaniment of numerous instruments fill the sails and it picks up speed. The lure of Spanish style guitar and castanets draw you back to the isle in the centre of the watery expanse but as you near it is replaced with the warbling recorders and others as they raise a dance again.

Approaching the shore you can hear as all join in traditional steps, your fingers tapping on the boat side, ’tis a merry tune. The boat hits sand and you leap out to secure the mooring. Treading along  the shore feet sinking in soft warm sand, you make your way toward the music as it wafts through the lush vegetation the siren briefly calling you before the instruments take up the rejoicing given direction by a synthesised voice.

The terrain rises gently as you follow the trail, winding it’s way upward as the music fades in the density of the plant life. Gentle keys and guitars plucked to guide you gently on your way and the voices seem momentarily distant now in the lush vegetation. You forge your path with the guitars determined to see what lies ahead, attain the rise and can see the clearing nestled among the trees below, the singers move from side to side in rhythmic motion and the glockenspiel signals your descent.

Throbbing bass, strummed strings and air breathed through drilled wooden pipes, guide your feet over the uneven path and running keys of water skip over stones and through crevices as it flows in the stream falling alongside. The dipping track quickens your step as the music keeps pace. Your pulse races to the beat and you burst through into the clearing once more, elated and surrounded by smiling faces, all is well with the World.

 And there you have it.

Live

Someone once asked what ‘Sanctuary’ sounded like and I advised along the lines of, it’s like Mike Oldfield but takes it further making it even more cheerful and uplifting. ‘II’ takes us on a magical, musical mystery tour and lifts the spirits higher.

I have only covered the main album, but if you can, buy the 3 disc deluxe digipak version, as not only do you get an extras disc packed with other wonderful tunes edits and remixes which did not make the main disc, but the whole album on DVD in 5.1 surround sound and 24/96 stereo mix (don’t ask), along with promo videos.

There will also be a chance to to see Rob record a performance of the album ‘Live’ at Real World Studios later in the year with a ten piece orchestra, if you are lucky enough to purchase a ‘golden’ ticket and be one of the privileged audience.

 This may not be Mike Oldfield, but he may wish it was……..

Released 10th June 2016

Buy ‘Sanctuary II’ from Bandcamp