by Prog Nick
Some things are inevitable, especially in the world of Progressive Rock. The latest inevitability to occur is that the prodigious talent that is Jordan Rudess has returned, once again in his solo career form, with his twentieth solo album.
Pitched as a follow-up to 2019’s ‘Wired for Madness,’ the latest Jordan Rudess solo album is entitled ‘Permission to Fly’. Not that he needs any permission at all. This personification of all things musical, technical and Progressive, known for his jaw-dropping keyboard work with Dream Theater, has nothing left to prove. He has appeared on dozens of albums, he has written several magnum opus works that have stood the test of time and he has, quite frankly, been at the forefront of musical innovation and experimentation on not only the musical level, but also the technical. Rudess is the embodiment of all that is Prog.
It was through unusual circumstances that Jordan would recruit the band for this album. He met renowned drummer Darby Todd (Devin Townsend, Martin Barre) while Dream Theater was on tour with Devin Townsend on the DreamSonic tour. Meanwhile, vocalist That Joe Payne (formerly with The Enid) was introduced to Jordan through Roie Avin, editor of The Prog Report, who without knowing about Jordan’s upcoming solo album, suggested the two should find a way to work together. The trio’s chemistry is palpable. Other guest performers include brilliant guitarists Bastian Martinez (from Chile) and Steve Dadaian (Jordan’s friend and dentist). The core band, then, are more than capable of expressing Rudess’ highly ambitious musical vision.
Payne has a beautiful but distinct voice and a noticeable flair for the dramatic. Sometimes, his vocal exploits sound downright operatic (and certainly classical in nature), but you should not let this prospect deter you. Payne’s voice sits within Rudess’ grand overall vision as comfortably as a baton in an orchestra conductor’s expert hand. Think of it as a refined tool that Rudess uses to near perfection. This is because the drama comes not only from Payne’s vocal delivery but, more emphatically, from Rudess’ highly intricate and cinematic composition and arrangement. There will undoubtedly be some detractors from the sometimes quasi-operatic nature of the sound – that too is inevitable, but on balance, it is a very good melding, and above all, it is Progressive to its core – just as it should be.
Another point to be addressed up front is this: the album’s lyrics, which are also highly theatrical and evocative, were written not by Rudess, but by his daughter Ariana. She too appears to have a flair for the dramatic, with deep lyrical offerings that are very cerebral and cohesive. They are also very quirky and Proggy – expect loads of imagery about alchemists, embers and reveries. This must have been a highly rewarding collaboration for Rudess, who obviously must have brought his daughter up with distinct Progressive musical influences.
‘Permission to Fly’, then, has all the ingredients required to make it a show-stopper. Let us delve in.
The album starts on an inevitably Proggy note with ‘The Final Threshold’, a brief but complex exploration of the intricate composition and technical soundscapes that Rudess is so renowned for, only this time with the introduction of Payne’s unique sound. It proudly sports Rudess’ love of classic Kansas, and Payne embraces that challenge with aplomb.
‘Into the Lair’ gives Todd an opportunity to exhibit his complex but always concise drumming style. He has an uncanny ability to make the most elaborate time signatures sound simple with carefully prepared but concise chops, and that is a true gift. The grooves and rhythms ebb and flow around Rudess’ innovative keyboard sounds with Rudess driving the band like a mad professor. The melodies do become a little pedestrian in parts, but this is a small price to pay for such comprehensive and complex offerings.
‘Haunted Reverie’ is a track that boasts Rudess’ legendary technical expertise in audio. He is truly a wonder, especially when placed within a contemporary technological landscape, and some of the sounds on this track have (to my ear at least) not been heard before. Payne’s voice, this timeless theatrical, is filtered beautifully into the composition, which is a driving slow rocker in 6/8 timing.
‘The Alchemist’ is the 9-minute epic that shows Rudess at his flamboyant, Proggy best. It has to be said that the video came across to me as a little cheesy and in my opinion did not really do the track justice. Best listened to rather than watched, this song is an extravagant and complex composition, taken to the highest possible standards of Prog composition, performance and production. The guitar solo Is particularly discordant, the keyboards are next-level in their sounds and delivery, and the various time changes are quite dizzying. Todd keeps it all very solid and tight, with remarkably economical drumming that belies the song’s intense complexity. Prog it should be, and Prog it most certainly is.
‘Embers’ is a beautiful slow ballad with a big drum sound and Payne’s emotional vocals at the forefront. But here is the kicker: on this track, Rudess partnered with Moises.ai, an AI-powered platform that uses audio separation to isolate components of a song. (For example, drummers often use it to extract drums to play their own parts to the original recording). Rudess has made it possible for fans to download the song through the Moises app and make their own versions by playing along on any instrument. You have to love Mr Rudess’ sense of innovation and embracing of technology. Oh, and the song is great too.
‘Shadows of the Moon’ is another gorgeous ballad that exploits Payne’s vocal range to the fullest. His voice is sweet indeed, and the theatrics are minimized on this track, with no negative consequences whatsoever. It truly feels like a lunar adventure, and Rudess’ keyboard solo on this track is transcendent.
‘Eternal’ opens with the heaviest guitar riff on the album and soon morphs into another Prog extravaganza of over eight minutes. Rudess’ Fender Rhodes riff is funky and chunky and provides a granite platform for the faster parts of the song. Again the slow vocal verses and theatrical choruses could have sounded a little less pedestrian, but it all resolves beautifully in the end with a not-so-inevitable heavy guitar passage interposed with Rudess keyboard solos that triumphantly rescue the track and then some.
‘Footstep in the Snow’ is one of the most beautiful melodies you will hear this year. It is in this context – pure, unpretentious melody – that Payne truly shines. With Rudess providing a majestic backdrop and Todd respecting the spaces as much as the notes, this one just soars. The lyrics confront the inevitable question of mortality and what lies beyond, in the most authentic fashion. It occurs to me that Payne could have been a worthy replacement for Freddy Mercury, but that would be another story.
The album ends with the cinematic ‘Dreamer’, a Rudess cosmic soundscape that could easily have appeared on a block-buster movie like ‘Interstellar’. Polished and brilliant, it provides a fitting end to a stellar album.
“Permission to Fly” really is an album that was inevitable, because this, of all ages, is a time of experimentation in music – and no-one personifies and epitomizes that experimentation more than Jordan Rudess. His collection of novel sounds is quite astonishing, from broad orchestral tones through to unique cinematic sounds and effects. When placed in this context, his dazzling keyboard work can often not be differentiated to the layman’s ear from a Steve Vai-type guitar solo (though this is not to detract from the guitarists on the album, who keep pace with him admirably).
The lyrical content is no less adventurous, canvassing such complex topics as the very nature of human existence within a conflicted, multi-layered and violent world. The album’s production, at Rudess’ expert hand, is of the highest order, with a particularly clear and beefy drum sound.
Permission to Fly’ is a diverse album of songs dealing with issues as deep as human existentialism and as quirky as the supernatural, and it ranges in musical style from uber-Prog epics all the way through to wonderous ballads. Expect something experimental, quite dramatic, and in parts quite theatrical. But you should also expect sheer beauty and soundscapes from Heaven. This is undoubtedly the best solo album from Jordan Rudess to date, with strong songwriting and outstanding musicianship. Is it inevitable that you will enjoy this album? Absolutely.
Released on Sept 6th, 2024 on InsideOutMusic.
Order here: https://jordanrudess.lnk.to/PermissionToFly
1. The Final Threshold 04:08
2. Into The Lair 09:31
3. Haunted Reverie 05:14
4. The Alchemist 08:36
5. Embers 04:03
6. Shadow of the Moon 05:29
7. Eternal 08:53
8. Footstep in the Snow 04:02
9. Dreamer 05:03
10. Incarnation 03:31 (Bonus Track)
11. Chopin Fm 05:33 (Bonus Track)
Jordan Rudess / keys
With:
That Joe Payne / vocals
Darby Todd / drums
Steve Dadaian / guitar
Bastian Martinez / guitar solos
