IN CONCERT, LIVE IN POLAND

After a break of some 5 years, Pär Lindh decided to resurrect the "Project" name and embark on a tour. Bassist William Kopecky, who appeared on the band's previous live album (but who did not play on any of the studio albums) is present, along with new drummer Svetlan Råket. The gig which was recorded for this DVD was only the second time this line up played together, being filmed at the Wyspiański Theater in Poland.

The music here is taken from all of the Project's three studio albums to date; sometimes being put together in medley format. Also included is a brand new composition which Lindh says "Does not even have a name yet"; the audience responding with enthusiastic applause.

If you've ever wished ELP had continued to follow the course suggested by their "Pictures at an exhibition" album, this could well be the set for you. Lindh has obviously modelled his keyboards style on that of Keith Emerson, the organ sound often being like that used on "Blues variation" for example. The line up too is instrumentally very similar to that of ELP.

The concert is entirely instrumental, and almost exclusively focused upon the keyboards skills of Lindh. William Kopecky (Bill) gets the opportunity to carry things along on bass from time to time, including a "solo" section. His bass virtually becomes a lead guitar at times, during such forays.

The playing is always extremely tight. Even when the style drifts towards jazz on pieces such as the "Mundus/Veni Vidi Vici" medley, there is clearly no improvisation. Classical influences and extracts are used regularly right from the opening "Night on Bear mountain", the appearance of Mussorgsky and Prokofiev themes also emphasising the ELP connection.

It is clear throughout the concert that audience participation is not expected or indeed invited; a factor perhaps emphasised by the absence of a lead vocalist. This is music to sit back and enjoy as the complex waves of quasi-classical compositions reveal themselves.

The gig runs to around 80 minutes in all, the filming being complementary and unintrusive. Also included is a 20 minute interview with Par Lindh, conducted in perfect English by the Polish interviewer and the Swedish subject. Lindh reviews his career and various projects to date. Interestingly, during the interview Lindh indicates that he is currently looking to recruit a vocalist for the next album, his preference being a female singer (but he would also welcome a call from Jon Anderson!).

In all, a highly enjoyable set which captures Lindh in a live environment. The recording quality is superb throughout, and the playing exemplary. Do not however look for an flamboyant light-show or over the top Emerson style pyrotechnics, this is more akin to a classic recital.

During this concert in Poland the Par Lindh Project performed as a trio on keyboards, bass and drums, without violin players, guitarists or singers. So their sound moved even more towards early ELP, especially because of the frequent use of the hammond organ (connected with the distinctive Leslie box) like in the bombastic opener Night On Bare Mountain (incredible how easy Par Lindh switches from organ to synthesizers), the Mundus / Veni Vidi Vici Medley (swinging piano and swelling church organ sound), the new composition Suite In Progress (spectaculair fat synthesizer flights and sensational part that reminds me of Fanfare For The Common Man) and the compelling Gradus Ad Parnassum (swirling and gracious piano work, an exciting piano/bass duet and a powerful drum solo). The interplay between the three musicians is excellent (especially in Montagues & Capulet in which Par Lindh succeeds to give this classical cover an own turn) and during this concert the chemistry grows and grows, I also notice that the music on stage sounds more powerful than on the studio-albums. In two songs Par Lindh his loyal bass player William Kopecky gets room voor soloing, in my opinion he does a good job, very inventive and I enjoyed the fuzzy sound in Baroque Impression (then captivating interaction with sparkling piano work). The lightshow is beautiful, from dreamy blue and green to a see of orange light.

This is a great keyboard driven live DVD, not to be missed by any serious keyboard aficonado and ELP proghead so I would like to end with: Welcome Back My Friends To The Show That Never Ends, Ladies And Gentlemen: the Par Lindh Project, highly recommended!