MOOGFEST 2006 LIVE

For me the Moog synthesizer is one of the essential instruments in the Classic Progrock sound, just like the Mellotron, Hammond organ and Moog Taurus bass pedal. The LP Pictures At An Exhibition by ELP was the first time I heard that fat and powerful synthesizer sound, produced by Keith Emerson on the mighty modular Moog but it was Rick Wakeman with his dazzling flights on the unsurpassed Minimoog (featuring a patented 3 oscillators system) that really blew me away, also because of the futuristic shape: a wooden structure and a turning panel with lots of 'magical' knobs, how exciting to watch and ... to play, at the home of Ayreon's Arjen Lucassen (in 1996 during an interview just before his album Actual Fantasy was released), I was allowed to 'touch' his Minimoog and I will never forget how exciting it was to create that mighty Minimoog sound and to use the pitchbend button, goose bumps! And during a visit a the home of a Dutch Moog freak I got the opportunity to 'play' (I only know a few chords) on a Minimoog, Memorymoog and the spectacular Ribbon Controller (the instrument Keith Emerson wipes his bump with), then you realise what a great invention the Moog synthesizer was. And that's exactly what the keyboardplayers tell about during the introductions of the compositions, from "a whole new voice" to "for the first time you could challenge the guitarist", they are all so thrilled and dedicated, for me it was even a bit moving to hear those very positive words because I am such a vintage keyboard freak and all those famous musicians are talking as they are in a huge toyshop, so grateful and happy!

This 2006 Moogfest edition contains performances by Jordan Rudess (Dream Theater, Liquid Tension Experiment), Keith Emerson (The Nice, ELP), Jan Hammer (The Mahavishnu Orchestra, Jeff Beck), Bernie Worrell (P-Funk), Roger O'Donnell (The Cure), The Mahahavishnu Project and DJ Logic. Not every artist or song is 'my cup of tea' but they all delivered inspired contributions and you can notice the joy and excitement. Jordan Rudess was playing on the new monophonic and analogue Moog synthesizer named Little Phatty (it points at the fact that the Hip Hop world often used the fat Moog synthesizer sound) in a very spectacular way, ranging from SF and very fat sounds to sensational use of the pitchbend button that sounds like a tribute to Jan Hammer. Not strange because in the late Eighties Jordan had founded a trio with Jan Hammer and Tony Williams! And how exciting that Jan Hammer also appeared on the Moogfest 2006, with the outstanding The Mahavishnu Project. First this band performed a Mahavishnu Orchestra medley (Meeting of the Spirits/The Dance of Maya), then they were joined by the legendary and very popular Jan Hammer. I am delighted about his work on the Little Phatty Moog (lots of flashy solos) and the renditions of the Jeff Beck-era songs Blue Wind and Led Boots, he freaks out with a sensational pitchbend driven, wah-wah-like sound (on the albums he had to compete with Jeff Beck his powerful and often distorted guitar sound!) ... on the Korg synthesizer. That's a bit ironical because Keith Emerson as Rick Wakeman left the Moog synthesizer when they got an endorsement by the Japanese company Korg. So you can enjoy both the Moog - as the Korg synthesizer sound on this Moogfest. The final artist is the one who epitomizes the Moog synthesizer sound in progressive rock: Keith Emerson. With his powerful and energetic band he delivers great renditions of Living Sin (exciting harder-edged guitarwork), Lucky Man (wonderfull blend of guitar and synthesizer) and especially Tarkus: mindblowing runs on synthesizer, organ and piano in lots of very dynamic and swirling climates, it's awesome to watch Keith Emerson playing on the huge modular synthesizer, evoking the good old times of Pictures At An Exhibition and Brain Salad Surgery, progrock magic!

NOT TO BE MISSED BY ANY MOOG FREAK!!

An interesting minimoog showcase, featuring artists from Jazz, prog rock, metal, among other genres. Each artist discusses certain thoughts about this moog festival briefly and plays for a while. I give this 3 stars because it is not for everyone. the music emphasizes the synthesizer a lot, making the music suffer a bit. Also, the video footage tends to show the musician rather than Robert Moog's invention, which frustrates me a lot. Finally, not all artists are my cup of tea, especially the first two. I'll quickly describe what you expect from each artist.

Jordan Rudess: Starts with spacey sounds, and a very nice sounding fat synthesizer sound that is aggressive enough to have potential in heavy metal music. After that introduction, Rudess starts goofing around and ruining everything. Seriously, can't this guy ever be serious when playing live? While enduring the terrible whimsical and silly music, there are occasional flashes of brilliance. So in the end, we have a mixture of great (and I mean great) playing with silly stuff dominating most of the time: a bi-polar mess. If Rudess succeeded on something, it is in showing how versatile the moog can be. (Artist Musicianship: A, Band: N/A Enjoyment: C-)

Bernie Worrel: who invited this dude? How terrible his performance is makes me think of how I would have done if I was forced to play in the show (I can barely play keyboards). All he does is play on an electric piano for several minutes really really badly. He plays wrong notes, wrong chords, and attempts to play silly well-known melodies and nursery rhymes. Seriously, it looks like those youtube videos of musicians videos overdubbed by terrible playing for humor. And did I say the type of playing doesn't fit the hip hop rhythm? Seriously, the band sets fantastic bass-driven grooves. Anyways, pathetic performance, no moog until the end, but really ... I actually wish he didn't touch the moog: he music he creates with it is an atonal nightmare. (Artist Musicianship: F, Band: A- Enjoyment: D-)

Roger O'Donnell: A synth-driven new age song with simple percussion. Very spacey and reminiscent of Michel Jarre. The moog synthesizer is used as a lead instrument playing nice and loose melodies. (Artist Musicianship: B, Band: N/A, Enjoyment: B)

Mahavishnu Orchestra Project: I never was a fan of this band's chaotic style. But if you are a fan of the band, I think the songs played live sound better with today's technology than in the past, and this tribute band smokes is full of virtuosos. The music has a very organic sound and features time changes and some odd-time signatures. Crazy jazz-rock and if you are a fan of this band, you might love this. I prefer this band to the original because I didn't feel any emotion in the original. The first song is a fantastic display of virtuosity while the second features very evil-sounding themes in its intro and outro with an odd blues tune in the middle which I don't like, but at least there are great solos to make it enjoyable. I love how the ominous keyboard riff from the intro starts fading in again. (Band: A+, Enjoyment: B)

Then Jan Hammer arrives, while the Mahavishnu Orchestra Project plays with him: The music is now more keyboard-oriented than before. Hammer begins with a funky piece Oh Yeah! which is groovy and entertaining. Darkness starts ambient and brings images of space. The band eventually jumps in and the piece becomes a bit more of a jazzy prog rock song with a synthesizer loop and a minimoog lead that shreds as if were a guitar. The rest is nothing much different than these 2 songs. Sometimes funky, sometimes jazz-fusion, Fun and with great keyboard playing, but I actually preferred the two songs that Mahavishnu played before he appeared. (Artist Musicianship: A-, Band: B+, Enjoyment: C+)

Keith Emerson: what saves this from a 2-star review. What a fantastic show!! He brings a band with musicians similar to Lake and Palmer except that this singer is more guitar-oriented (he still has a very similar singing voice and style). The band proves they are worthy with the first song Living Sin which has that aggressive synth riff at the end. A very different version of Lucky Man which uses a synth loop as a rhythm is very effective with beautiful and passionate Greg-like singing. the synth solo is a bit over the top tho but its nice seeing him play with the original gigantic moog (rather than a minimoog). The best is when they play the entire Tarkus which is even extended to around 25 minutes. The band couldn't be any better and Emerson has room for grand piano and hammond playing: my favorite stype of Emerson playing. He's aggressive, virtuosic, melodic, and playing with youthful energy and creativity. Again, since this is a moog show, I feel playing around with a moog in a part which I consider Emerson's best solo (and possibly the best hammond organ solo I've heard) hurts the piece. Nerverteless, hearing a vastly different version of Tarkus with such enthusiasm and power (sometimes it sounds even heavier than the original) made my day. (Artist Musicianship A+, Band: A, Enjoyment: A)