Fans of progressive rock make their way towards the historic UCPAC theater in Rahway, NJ this Saturday, October 5, 2024 evening for a Final One Man Solo Tour concert by English keyboardist and composer Rick Wakeman.
Wakeman, 75, was born and raised in West London. Intending to be a concert pianist, he left England’s Royal College of Music in 1969 to become a full-time session musician. Wakeman’s early work included playing on recordings by Cat Stevens and David Bowie. In 1970, he became a member of Strawbs, but joined Yes a year later, accompanying lead singer Jon Anderson on some of the group’s most celebrated LPs including Fragile, Close to the Edge, and Yessongs. Wakeman began a solo career in 1973 and his discography currently includes over 90 solo albums including his latest project, Yessonata. In 2017, he was inducted into the Rock and Roll Hall of Fame.
Outside of UCPAC, Brian from Edison says, “I first got into Rick Wakeman’s music around 1974 or 1975. The first time I saw him play was with Yes in 1977 — at the time, there were no better keyboardists on the planet than Rick Wakeman of Yes and Keith Emerson of Emerson, Lake and Palmer.” Continuing, “I’ve always loved Rick’s playing. I’ve met him personally and he’s a funny guy, so I know he tells good stories, too,” Brian recalls, “Over the years, I’ve seen many live performances — this is my 1,152nd concert and I’ve seen 93 Yes shows — and even though Rick has said this is his final solo tour, I still think he may do something with Jon Anderson who just ended his tour with The Band Geeks,” prior to pointing out two members of The Band Geeks, Chris Clark and Andy Graziano, who are here for tonight’s show.
Explains Chris Clark of The Band Geeks, “I’m a huge fan of Rick Wakeman; I’ve been playing keyboards since I was eight years old and I loved Rick and his music growing up. I especially remember loving his work with Yes on Close to the Edge. I remember having friends who were Yes fans and after I told them, ‘Rick Wakeman is amazing and I’m gonna try to play like him,’ they said, ‘You’ll never be able to play like him,’ and I remember thinking, ‘Well, maybe they’re right, but I’m not convinced — I’m gonna keep on trying.’ To this day, nobody can do what Rick does, but I still try, and I also love working with Jon — he’s a living legend and to be able to play and create music with him has been an out-of-this-world experience.”
Clark’s bandmate, Andy Graziano, agrees, adding, “Like Chris, I’m a long-time fan of Yes. Growing up, I was woodshedding their material with The Band Geeks, so it’s particularly amazing for us to be playing it with Jon Anderson now,” prior to concluding, “Even though I play Rick’s music all the time when I’m on stage, I’ve never seen him perform live, so I’m here as a total fan tonight and very excited to see him. I especially hope he’ll do some Yes music and I hear he tells good stories, too, so I can’t wait to get started!”
Inside the UCPAC auditorium, the lights dim and Rick Wakeman enters the stage to enthusiastic cheers and applause. Taking a seat at the double-keyboard station located stage right, he launches into his original composition, “Jane Seymour,” from his 1973 solo progressive rock album, The Six Wives of Henry VIII, where the sound of a pipe organ swells and falls on this piece which sounds reminiscent of a Bach organ toccata.
The crowd cheers, and Wakeman introduces his next selection, “Catherine Howard,” also from The Six Wives of Henry VIII. On this gentle, flowery composition, Wakeman strings together a series of fluttering melodies before switching to his lower keyboard where he shifts the mood to a darker tone. Following a lighthearted country jig, the music changes slightly in timbre as Wakeman plays the top keyboard with his right hand and the bottom keyboard with his left, creating a symphony of sound which radiates over the crowd.
Music lovers hoot and holler, and Wakeman takes a seat at the grand piano, stage left, and talks about the early part of his career when he worked as a session musician. Despite fighting a cold, he spiritedly tells a funny story about the first time he met David Bowie prior to introducing his next number confessing, “Of all the recording sessions I did, the one that stands out for me most is this one I did with David.”
Audience members applaud when Wakeman launches into a medley of two Bowie compositions — “Space Oddity” and “Life on Mars.” Following a sparkly introduction, audience members can easily imagine the voice of Bowie singing the “Ground Control to Major Tom” lyric in rhythm with the magical strains of “Space Oddity” played by Wakeman on the grand piano.
Building in power and volume, fans applaud as Wakeman sequels into “Life on Mars,” his musicianship and interpretation wowing the crowd.
Recalling his childhood in England, Wakeman talks about visiting the site of King Arthur’s castle when he was five years old. He sits down at the keyboard station and jokes, “The orchestra couldn’t make it,” before performing a solo medley of pieces from his 1975 concept album, The Myths and Legends of King Arthur and the Knights of the Round Table. Opening with the majestic “King Arthur” theme, Wakeman plays a syncopated accompaniment as the melody marches on. Moving on to the lovely ballad, “Guinevere,” he spins a hypnotizing and magical tale playing with feeling, style, and grace. Following the strong and rhythmic “The Last Battle,” Wakeman concludes the medley with “Merlin,” where fast fingerings and percussive rhythms characterize the presentation.
The crowd whistles and cheers, and Wakeman explains that because Yes’ lead singer Jon Anderson’s voice is “so unique that it sort of takes over,” people sometimes forget that “Yes melodies are really strong.” As a result, he acknowledges taking his manager’s advice to create his latest project — the solo piano medley, Yessonata — by stringing together “30 snippets of music” by Yes.
Putting on his glasses, Wakeman sits at the grand piano and uses sheet music to perform this unique piece which includes such enduring Yes melodies as “Long Distance Runaround,” “Siberian Khatru,” “And You and I,” “Close to the Edge,” “Roundabout,” and more, which are connected via improvised transitions between the various segments.
Concertgoers listen intently and recognize many of the tunes that flow from Wakeman’s talented hands before bursting into applause at the conclusion.
After removing his glasses and thanking the audience, Wakeman explains that UCPAC’s Bösendorfer grand piano has several extra left-hand keys on it which are lower than those found on most pianos and, as such, slyly confesses to changing the keys of several pieces tonight to be able to “use these notes.” Moving over to the keyboard station, he talks about John Lennon’s composition, “Help.” Revealing that, “John wrote it as a ballad,” Wakeman announces, “This is ‘Help’ in the style of Saint-Saëns,” prior to noting, “and I will play ‘Eleanor Rigby’ in the style of Prokofiev.”
Arpeggios abound on Wakeman’s interpretation of “Help.” Tinkling the keyboards softly and sweetly, Wakeman’s right and left hands interweave, the two parts intermingling and complimenting one another to give a new feeling to this ubiquitous Beatles song. On “Eleanor Rigby,” Wakeman’s musical treatment makes the piece sound reminiscent of a Russian dance that lilts, but then marches on with precision and power. Sometimes dissonant, Wakeman’s novel arrangement is moving and filled with syncopation.
Audience members stand and cheer, and Wakeman takes a bow and exits the stage before returning to perform a solo piano encore of his 1974 orchestral rock piece, Journey to the Centre of the Earth. Starting out with a gentle tune, Wakeman segues into a jaunty, quick-paced meandering melody. After inserting a snippet of Edvard Greig’s In the Hall of the Mountain King, he slows down into a journeying theme prior to ending with a string of runs that end with an impossibly low D note played on the Bösendorfer piano. Music lovers respond with whistles, cheers, and applause as Wakeman says goodnight and exits the stage.
As concertgoers make their way out of the UCPAC auditorium, several comment on tonight’s presentation. Remarks Dave, a musician from Piscataway, “Rick Wakeman’s performance was wonderful — his melodies, his approach to his instrument, and his musicianship were all just amazing.”
Comments Heidi from Bayonne, “Rick Wakeman’s performance was very enjoyable, entertaining, and unexpected. The way he presented his old music was so fresh, and I especially enjoyed the Yessonata.” Notes Heidi’s daughter, Roxy, “I honestly think he’s one of the best piano players I’ve ever heard. As a pianist, I loved all the songs he performed, but I really loved the Beatles’ medley and David Bowie’s ‘Space Oddity,’ especially since he was the original keyboard player on the recording.”
Harold, a musician from Toms River, declares, “Rick Wakeman was absolutely amazing and inspiring! Listening to him play 40 years ago made me want to go into the practice room thinking, ‘Oh, man, I gotta work at this!’ and now, tonight, I’m going back in the practice room because, damn, I’m inspired again!” Insisting, “His playing is so clean — he’s 75 years old and he hasn’t lost a trick,” Harold further posits, “With his level of creativity, we should all be so lucky as to be like him.”
Harold’s son, Mason, agrees, exclaiming, “Rick Wakeman was incredible! When he was working the keyboards, it sounded like there were four people playing — I was watching his hands and feet just trying to figure out where everything was coming from!” prior to concluding, “He’s truly gifted in terms of his technique — his performance was just perfect — so to watch him play live was, to me, just mind-boggling!”
To learn more about Rick Wakeman, please go to rwcc.com. For information on great upcoming performances at UCPAC — including Damien Escobar with Kim Waters on October 25, The Robert Cray Band on October 26, The Ultimate Elvis Concert on November 16, and The Who’s Bad 20th Anniversary Tour on November 23 — please click on ucpac.org.
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