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Music review: Rick Wakeman – ‘Piano Portraits’

By Clint Rhodes for The 3 min read
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ItĢƵ no secret that I started the new year in a relaxed mode musically.

After listening to a large variety of classical music over the holidays, I’ve carried that vibe with me into 2017.

The latest album from Rick Wakeman satisfies my appetite for continuing my search for a more tranquil tone to calm the soul.

I’ve been a closet Yes fan since the early ’70s and have acquired the bandĢƵ entire discography for my listening pleasure. Wakeman became the groupĢƵ keyboardist in 1971 and first appeared on “Fragile,” a masterpiece of progressive rock that is my favorite Yes effort.

“Close to the Edge” and “Tales from Topographic Oceans” followed with WakemanĢƵ distinctive playing and instantly won me over as a fan. On a side note, the album covers for these three glorious releases featured the gorgeous art designs of Roger Dean, further deepening my connection to the band. I even wore a belt buckle of the vintage Yes bubble logo while in middle school to display my obvious coolness.

Wakeman, a classically trained pianist, has also had a successful solo career by issuing over 90 albums since 1973. On his latest effort, Wakeman releases an engaging piano album that features arrangements from other artists that he previously appeared on and tracks that influenced him over the course of his distinguished career.

“Help” opens the album with Wakeman giving the Lennon and McCartney track a tender charm that flows fluidly until closing with a small hint of “Lucy in the Sky with Diamonds” and adding a nostalgic reminder of the crossover appeal of the Beatles. Wakeman continues to pay tribute to the Fab Four with “Eleanor Rigby” as the closing selection.

The haunting power of “Stairway to Heaven” slowly builds in intensity as WakemanĢƵ playing infuses a spiritual serenity to the classic Led Zeppelin anthem.

Wakeman does a masterful job of capturing the true intentions of 10ccĢƵ “I’m Not in Love,” relaying the eternal optimism of Yes’ “Wonderous Stories” and painting the simple beauty of Cat Stevens’ “Morning Has Broken.”

My favorite track is an enchanting reworking of “Life on Mars?” from David BowieĢƵ “Hunky Dory.” Wakeman also does a splendid interpretation of BowieĢƵ “Space Oddity.”

Other highlights include WakemanĢƵ glorious versions of “Amazing Grace,” “Swan Lake” and “Clair de Lune.”

“Piano Portraits” eloquently displays WakemanĢƵ genius and serves as a one-man work of true musical magnificence.

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