ARS LONGA VITA BREVIS

Keith Emerson's breakout fusion of rock and classical musical styles, here he has been vaulted into the position of sole band leader and idea-maker--which some people see as a step down from their previous work. At the same time, the release of the title song's side-long Symphony for Group and Orchestra signifies another step toward the birth and manifestation of a more complex form of rock music that would go on to be called (eventually) Progressive Rock Music.

1. "Daddy Where Did I Come From?" (3:43) a sophisticated, almost-punked-up blues-rocker with an awesome David Bowie-like all-in theatric lead vocal from Keith Emerson while, in the second half, Lee Jackson provides a very entertaining spoken-word sex talk via an analogous tour of a garden. Drums and bass are right there with Keith's piano, organ, and synth. Great song to play for your kid when the ask the title question. (9.25/10)

2. "Little Arabella" (4:17) more theatric vocals over some county fair-like interlude/processional music from Keith's organ and piano. The second motif in the end of the second minute is quite BEATLES-esque. Musically this is just too much like my many visits as a child to Detroit's Olympia Stadium for hockey, Stars On Ice, the Harlem Globetrotters and other basketball games. A little too silly and novelty like. (8.75/10)

3. "Happy Freuds" (3:27) BEATLES-like bass and drums over which Lee gives a near-John Lennon-like vocal performance (with Keith providing accent vocals from the background and, later, a second lead singing voice). Keith's play of his swirling organ is rather subdued and carnivalesque. Interesting and entertaining but that's about it. (8.666667/10)

4. "Intermezzo from the Karelia Suite" (8:57) the band (and Keith)'s interpretation of a Sibelius piece. Again, I am a little turned off by the militaristic drums, circus-sounding organ sounds chosen, as well as the overall processional feel of the music/performance. I like Lee Jackson's bowing of his bass in the second half and Brian Davidson's cymbal work as the music starts getting more avant/macabre. (Thank god for the creepy effects-drenched seventh and eighth minutes or I'd really slam this one.) Plus, Keith's playing feels so rote and "by the book"--that is, without any flare or individuality (until the final 30 seconds) (17.25/20)

5. "Don Edito El Gruva" (0:13) funny take on the orchestra tuning.

6. "Ars Vita Longa Brevis - Symphony For Group And Orchestra" (18:20) Keith's rock interpretation of a classical music piece from J.S. Bach. (35.75/40) - a) "Prelude (1:49) an awesome opening. - b) "1st Movement: Awakenings" (4:01) a little keyboard play before a long drum solo. Pretty good (for a drum solo)! - c) "2nd Movement: Realisation" (4:54) vocals! Punk rock vocals! then a long piano solo. Poorly recorded. - d) "3rd Movement: Acceptance 'Brandenburger'" (4:23) orchestral intro to a lively organ-led Baroque motif. Why this movement has such great sound engineering while the previous one has such poor is a mystery (though, according to the credits, the 2nd Movement was co-composed by David O'List, who was fired from the band while this album was being prepped and conceived. Perhaps the 2nd Movement had been recorded before David had been dismissed.) - e) "4th Movement: Denial" (3:23) wild organ play with some more punky vocals toward the end. - f) "Coda - Extension To The Big Note" (0:46) big horn finish

Total Time: 39:27

Before hearing this album, I didn't know Keith Emerson could or ever did sing! And I like his theatric, enthusiastic voice! I also found myself surprised at how restrained Keith's keyboard work stayed for 90+% of the album. I guess I figured all his tendency toward bombast and excess had been there since the beginning. (Perhaps he was channeling it all into the band's famous rendition of Leonard Bernstein's "America".)

B/four stars; an excellent album of creative and adventurous music that could have been even more creative and adventurous. (More like the opening song.)