FANTASIZER!

Dean Watson is definitely Canada's best kept secret, a superlative multi-instrumentalist that has chosen to shine in arguably the most technically demanding sub-genre in prog , the jazz-rock fusion department. To master electric guitar with so many role models out there, to manipulate ivories with so many icons, to bass around fluidly among the veteran players and drum like a Cobham/Walden/White and co?. well that is no small feat. Yet, as improbable and rare as that might be, Watson is a one-man show of the very highest caliber. His third album is on the heels of the triumphal 2012 'Imposing Elements', a complete tour de force that caught the prog world off guard and stunned and my review certainly contained enough drool to fil a swimming pool (nice rhyme!- editor) . Once again, influenced by artist Ron Eady's tremendous visualizations, Watson embarks on an orgy of brilliant tracks built on jazz principles but enhanced with typical progressive rock ebb and flows, silky contrasts between gentle and muscular, as well as some stellar soloing on all instruments. In fact, there are times when the listener is literally pulled out of his seat, rendered comfortably numb by some cool cat noodling that suddenly explodes into a near frenzy of shredding notes and blitz beats. Dean Watson may very well be one of the most original and accomplished artists around, certainly worthy of more attention and adulation. But the most obvious upgrade from his two previous works is the meritorious inclusion of the electric piano, an instrument that is to jazz/fusion what the mellotron is to symphonic. Watson colors a lot of the arrangements with pools of liquid ivory, giving the arrangements so much more depth and detail than ever before.

The 8 minute + title track has all the mentioned ingredients, setting quite the mood from the get go, busy bass reveling with swirly determination, a playful keyboard style reminiscent of Chick Corea and some unusually harsh guitar riffs that are closer to an Ian Crichton of Saga fame than to an Al DiMeola. Throw in some opaque mellotron and synths that add bombast and density and you have one fine adventurous introduction to a brilliant album. When the jazzy groove settles in, the shriek lead guitar rant is just outstanding, a classic meeting of prog and fusion that shocks the system and stretches new boundaries.

"Twig" has a sweltering bass shuffle that will bewitch the listener and a mellow mood that cries out atmosphere and cinema soundtrack, a platform for a devilish synth solo, and finally, an organ rumble with a marimba tone that seeks out applause. The piano enters the fray in solemn splendor, sensually deliberate as a brief respite for the bombastic revisit of a glorious theme full of edge and drama.

This leads straight into the highly proggy extravaganza where Watson searches out clearly symphonic attitudes, which is why this stuff is soooooooo utterly cool. "Freak' has a piano mid-section that will test one's level of enjoyment, a deliriously enchanting foray into a world where simplicity and complexity meet and join hands. Keyboard textures rule until Dean finally lets his fiery axe defy restraint and burst out some lava-inflamed leads. This mood bleeds right into the simmering and shimmering "Nomad" , a highlight track in my opinion, full loaded with that magical e-piano I mentioned earlier, conjuring reflective images of sun, sand and oasis. Enormous contrasts in mood and style, I just could not help rekindling images of Santana's monumental classic 'Caravanserai', a valid reference point for this alarmingly fabulous album. The second section is just pure laid-back fusion funk, a blistering foray of resolute coolness, Watson blitzing mightily on his fret board as well as the ivories. I am in awe of such talent.

A couple of shorter bruisers ensue, "At Odds" exalts with some petulant organ displays, definitely a harder edge at play here , with lots of flair and spurting guitar anger, bad ass bass and some serious 'cymbal-itis". Chugga-chugga jazzy explorations that recall the classic 70s fusion greats, all the usual British and American suspects are winked at, which should qualify as the loftiest praise possible. In fact, I would state for the record (pun) that this is among the finest recordings ever produced by the genre, as it grows on you with repeated listens.

The highest point is attained with the stellar "The Anomaly", a phenomenal sympho-jazz anthem, a clever little synthesizer-led ditty which suddenly utters one of the most classic prog riffs ever, I name Larks Tongues in Aspic part 2, and develops a sharp, raunchy and gritty ride, nothing antiseptic or sterile clean, this is oily, messy, dirty stuff that Jeff Beck would be proud of (Is that more praise, ya think?).

The vibrant and bodacious "Linear Tendency" has a closer relationship to Soft Machine or more precisely its legendary off-shoot Isotope, closer to the British jazz-rock school that has produced so many great albums and bands. Once again, the marimba patched organ and synth are sensational aspects of the diversity and technical knowhow discharged by Mr. Watson, a sheer delight to any progressive set of ears.

The marathon piece is the aptly named "Caged Creator", an instrumental homage to a solitary performer 'caged' in some melodious bunker, armed with a plethora of instruments of aural pleasure (I am glad I spelled that correctly!) and inspired to reach new and yet unexplored horizons. This 11 minute monster aptly showcases the tremendous talent and creativity of a well-honed and inspired artist. I am generally very fussy with this genre, as I possess very high expectations for arguably the most technically proficient of any music masters. Watson elongated guitar foray is enough to slay any critic, his playing is brash, attractive and refreshingly invigorating. Loads of piano, febrile bass, slick beat and a wondrous sense of adventure. The arrangement is brimming with flavor, zestily exciting and unpredictable.

This masterpiece is then finalized by a 'roll the credits' au revoir, the imaginative "Solemn" completing the experience to perfect effect. As the title implies, we are sent on our way with serenity and a glorious sense of satisfaction. A delicate piano anthem with echoes of nostalgia, hope and achievement.

Bravo Dean!

5 Fictional Fender Rhodes