CRAFTY HANDS

Enter new drummer Ron Riddle into the ranks of Happy the Man to record 'Crafty Hands' (and to record only, since Riddle didn't tour with the band). Riddle's drumming, while coinciding with his predecessor in jazzy oriented styling, tends to be tighter in his rolls and more solid in his pacemaking, hence helping the band to sound more focused on the stronger numbers. The catchy opening number 'Service with a Smile', 'Wind Up, Doll Day Wind' (a special feature that in places gets as rocky as HTM can be), and the effective, easy-going 'I Forgot to Push It' are the clearest examples of the positive influence of the Riddle-factor. 'Wind Up, Doll Day Wind' happens to be the only sung track in the album, and it's also the one with the least complex rhythmic structure (mostly a slow 4/4 with occasional variations toward 7/8): this is the perfect opportunity for the band to reveal their rockier side, which generally remains breathing on a more subtle level, with featured guitar-organ dilaogues and multi-sax layers. The other musicians keeps things "business as usual": fine performances, clever interplays, well crafted solos that never get too overwhelming nor too extended, with an ever increasingly inspired Kit Watkins who can't avoid being the most prominent instrumentalist. From his enlightened pen surfaced the most relaxing 'Morning Sun' and the eerie, introspective closure 'The Moon, I Sing' - the former finds the band exploring the realms of meditation quite delicately, the latter ends the album with a sense of "walking along a lonely beach, at twilight, lost in thought". But let's not forget to mention the exquisite energy instilled in the overtly jazzy numbers 'Ibby It Is' and 'Steamy Pipes', which display HTM's Canterbury leanings with a Gentle Giant-esque twist. The amazing fact is that both pieces are set on a natural flow, making good use of links between the motifs and expanding these without getting boring or becoming repetitive. The proper use of delicate (electric and grand) piano textures pounding under the string synth layers and soaring Moog solos are typical well-ordained sonic amalgams that Wyatt and Whitaker create when sharing keyboard duties. I find this repertoire excellent as a whole, with every single piece shining with a splendour of its own. My fave track is the one I haven't mentioned so far: the stunningly beautiful 'Open Door' (whose existence dates from the band's earlier days) exhibits a delicate fusion of intimate jazzy ambience and Renaissance lyricism - sheer beauty that words can't actually grasp, but merely point out. Special mentions go to tracks 3,4 and 8, which in my opinion also comprise genius compositional ideas. 'Crafty Hands' is my favourite album from my all-time fave American prog act, and also one of my all-time favourite prog records from any time and place - therefore, one of my absolute favourite prog recordings.