DOUBLE ESPRESSO

Sorry, I really don't want to disappoint you, but Tony Levin's Double Espresso double CD is far from five star mark!

When you just start your listening, you will realize, that sound is very bombastic!!! In bad sense of that word, in bad tradition of weakest Asia albums, or worst ELP albums... In fact, I think the reason is slow and very simple drums. OK, all sound in total is far from excellence. Bad balance between instruments, heavy leading bass line ( ok, Tony Levin IS bassist) - leading as wall of sound, not as drive, as pulsation, as energy. Guitar sound is unclear, somewhere in the very back, guitar technique - very faceless.

Songs melodies are well-known, but it doesn't helps: almost in all cases originals are far better! It isn't real fusion or jazz-rock, the sound is absolutely repetitive, and absolutely UNINSPIRED.

Yes, it's B-category bombastic prog-rock with very pop arrangement, what is quite unusual for the mainly instrumental album. Small circle of listeners in that concert is very enthusiastic, but it doesn't helps.

All in all, it sounds for me as group of musicians we pushed to record some easy-accessible versions of well known prog classics to show people who hates prog, that in reality that music isn't as bad as they think, and even could be used for easy listening. They're doing their job, but hate it!

Sorry!

I was positively drooling at the mere thought of reviewing this absolutely successful live album by the maestro himself , basso supremo Tony Levin surrounded by some fierce and legendary prog bodyguards from the Gabriel days in Larry Fast of Synergy and the incredible Jerry Marotta. The fourth member Jesse Gress is a true find, an accomplished virtuoso guitarist from his Todd Rundgren days. This is going to be one hell of a global ride,I assure you! Disc 1 opens with the dizzying "Pieces of the Sun" , a heavily synthed-out , electro muscular rampage with Levin's buzzing bass way upfront for us to enjoy while Marotta bashes almost Bonham-style big, fat and meaty. Gress ices the cake with some superlative playing in a most innovative style, sounding like no one other than himself, no small feat today. The intensely short "Geronimo" wibbles and wobbles frenetically, closer perhaps to Levin-era King Crimson showing that the bald-one really learnt something from Fripp and company, delving into sonic dives, textural dips and contrasting flips. I could call this slithery prog, as these guys demonstrate that they can play with anyone. On the gently magnificent "Silhouette" Levin is caressing his majestic Chapman with profound concentration, a devoted enthusiast towards his lovebass, slated by a sweet guitar lead that sings above the towering native mesas, a prog instrumental ballad par excellence. "Dog One" shows off their quirkier side, a humorous off-ramp excursion that wanders into Belew/Zappa universes, a little display of mischief as they constantly stretch the boundaries searching for that elusive paroxysm of progressive bliss. Again, following the bass along is a real treat, what a phenomenal player Tony is. What's remarkable is the natural manner in which this pleases the ear and the mind, smart and eccentric yet unadulterated fun, especially coming from such seasoned veterans who could have easily winged it. The tropically funky "Tequila" worms seductively from the get-go, burying a tough bass riff into the groove, ringing synthesized pools that recall who Porcupine Tree's Richard Barbieri is devoted to, while drummer Marotta yields his kit chair and steps up front for a woozy sax solo and Gress coughs up some nasty licks from his fretboard , damn this is good! Like a true student of rock music , Levin learned from his pal Peter Gabriel the art of keeping things constantly breathless in a live situation (having seen Peter 3 times I can attest to the man's uncanny showmanship). Enshrined as a brooding thumper, Zep's "Black Dog" is a classic that few have dared to cover and hope to emulate, the band members omit any lead vocal and turn this into an instrumental hurricane as Gress displays a phenomenal understanding of the Page riff and adds some sizzling leads that parallel Plant's shrieking voice, now that's heavy! Frankly, I think this version is even better in a way, outslicing Led Zep shredded note by booming beat in a truly imperial performance. "Ooze" is a respite from the monster gales, justifying the title by slipping all over the place, very Arabic and fluttering in quarter tones that recall the Kasbah. The epic "Apollo" is a raunchy affair at first with exploding bass, mutilating drums and exuberant guitar slashes while the synths ping crazily. A mid section proposes a gentle ride where Gress gets to weave a series of effective leads and rhythmics that will convert you to his cause. Things revert to the tornado vortex of dizzying sounds and a colossal central theme that will blow? You?. All? The ?Way! The final Gress solo is one for the ages a tremendous tour de force and the audience applauds ouf!!! Next, Levin gives us some Pock Progressivo Italiano showing that the man knows his prog BIG TIME and "L'Abito della Sposa" does not have Marotta trying out his New York Italian but brilliantly talented Levin singing himself , very daring, hence very cool! A reprise of the King Crimson "Sleepless" is another clear demonstration that everything is sacred enough to be attempted, especially if the result is genius. This is another monumental composition, lush with powerful and relentless finesse, the luscious bass and cubic synths weaving prosperous sonics, odd singing and some dissonance tossed in for good measure, again perhaps even better than the original. The playing by these 4 gents is simply hard to put in words , I mean some of the finest creative proggers anywhere are baring their craft and their exalted muse. Incredible stuff.

Disc 2 dares to continue the buzz unashamed for nearly another hour and the adrenalin does not decelerate au contraire it gets into high gear with "Pillar of Fire". Moodily convoluted, the pounding marshalling thump keeps the ship nice and tight, letting Jesse Gress to ascend into the guitar heavens, an ultra modern prog workout that is hard to resist, driving headily into space rock's realm. "Ever the Sun Will Rise" is another stunner that defies comprehension with some unexpected piano and atmospherics at first, suddenly morphing into this bestial cluster of propelled sound, hard and edgy with binary drum expulsions and psychotic guitar screeches. Unrelenting and ruthless, this a live powder keg of progressive dynamite, determined and beautiful, the finest track here among so many others! The Synergy classic (and my favorite Larry Fast track) "Phobos" is a masterful piece, full of unconcealed modernism and electronic lunacy, given more oomph with Levin's reptilian bass and Marotta's rigid drums in complete attendance, I mean wow! A buzzard-like guitar blast confirms the deal. How can we resist such bravura? Better than the original again. That's three and counting! "The Fifth Man" is a bit of a letdown at first, saved by some dazzling guitar midway that takes the tune in another direction altogether. The instrumental blowout is fierce and dedicated. Now here is another prog monument tackled by these shameless geniuses, the "Lamb" era Genesis roller coaster "Back in NYC". Er?. Guess what? Not better than the original because Gabriel's vocals remain unimpeachable and Marotta is no match to the leather clad Rael. He does great though, weaving into the dense miasma of lurking sounds and biting chords but the original is still on top of the hill. Nice stab though, guys! "Utopia" is a Levin composition that ventures deep into the proggiest territories, initially forging a slithering bass line that shows the dexterity of the nimble fingers and evolving into an aural paradise of sound and melody that has all the right ingredients. The sense of instrumental balladry remains picture clear here again, nothing too complex but exquisitely played by the band, Gress flirting with some wicked lead accelerations and stubborn riffery. Another cover, this time the quirky KC classic "Elephant Talk" is thrown into the fire much to the crowd's pleasure, a hyper- polyrhythmic mélange that for me really resembles a groggier version of Talking Heads, loads of edgy insanity and weird reverberation, the tortured guitar is oblique and devastating, the whole probably on par with the original. I was never a big fan of this tune so I remain demure. Fans will love it though. Henry Mancini's "Peter Gunn" is a rock "n roll standard (first chords when you learn guitar) and proves that these gentlemen are having lots of fun, and not at the expense of cheesiness, bringing on their good friends (and opening act I presume) the California Guitar Trio. Yes, this is an unabashed chopfest with licks from all aboard, driving drums and chug along bass. Fun, fun, fun! "Belle" closes out this fine concert in style with a delightful piano-led goodbye, Tony bringing in his brother Pete Levin to do the cool jazz bar thing as time goes by and letting his Stick add some salt and pepper to the schmooze. A totally enjoyable ride and one of the finer live albums ever with loads of mature music, daring covers and outright amusement. 4.5 Brooklyn cappuccinos.

Back in N.Y.C.

Tony Levin is best known for being part of King Crimson in the 80's and 90's, but he has also played with Peter Gabriel, Anderson Bruford Wakeman Howe, and others. Here he is performing live with his own band, The Tony Levin Band, the line-up of which also includes Jerry Marotta on drums, Jesse Gress on guitars, and Larry Fast on synthesizers. The latter is perhaps best known for his work with Nektar and for his own project Synergy, but Fast has also previously worked with Levin in Peter Gabriel's solo band. Leven himself plays bass and the Chapman Stick (among other instruments).

The set list featured on this double live album draws heavily from the then current Levin solo album Pieces Of The Sun, on which Fast, Gress, and Marotta all played. The Fifth Man, Phobos, Ever The Sun Will Rise, Apollo, Ooze, Tequila, Dog One, Silhouette, Geronimo, and the title track are all from that album. Personally I prefer the studio versions of most of these songs. This is especially true of Apollo which is an excellent composition but that sounded better on the studio disc. But these live versions are enjoyable too. Utopia and Pillar Of Fire are from Levin's previous solo record Waters Of Eden.

To represent Levin's days with King Crimson, they perform two songs that he co-wrote and performed with that band. These selections are Elephant Talk from 1981's Discipline and Sleepless from 1984's Three Of A Perfect Pair. While Sleepless is alright I have never been able to enjoy the annoying Elephant Talk, and this version does not change that.

A couple of covers are included in Genesis' Back in N.Y.C. and Led Zeppelin's Black Dog. They also play a version of Peter Gunn (also performed by Emerson Lake & Palmer) on which the California Guitar Trio appear as guests. Finally, L'Abito della Sposa is a song that (according to the spoken introduction) Levin co- wrote with an Italian musician. Apparently, Levin himself sings this one in Italian language! The second disc also includes a studio track called Belle.

Overall, this is an interesting and mostly enjoyable live album, but it is generally not as good as the Pieces Of The Sun studio album.