----------------------------------------------------- 1996 ----------------------------------------------------- Source: Rock Net http://www.rocknet.com/archives/jon_and.html Jon Anderson's Latest Solo Project By Andrew Means When Yes and other classic rock groups of that era were coming of age in the '60s, it's a fair bet that few of them were thinking beyond the next tour or recording session. The Who's Pete Townshend was creating a sensation by hoping for death before old age, and several of his peers took him at his word. Now, of course, there's a generation of rock 'n' rollers who are advancing into middle age. And like previous generations of formerly-angry young men and women, it has had to come to terms with the fact that the world is a lot more resilient to change or total collapse than youth often anticipates. For some creative spirits, that realization brings out the best in them. It is a time of maturity and refinement, when musical craftsmanship and thought-provoking content reach their zenith. Others, like seeds in a parable, turn out to be short-lived. A flash of innovation, and then endless repetition - or worse, a floundering dependence on past glories. Count Jon Anderson among the former. Though still probably best known as the singer with Yes, Anderson has been developing an impressive solo career in tandem with his group activities. His latest release is "Toltec," on the Windham Hill label. Ten years ago, the notion that rockers would find a home on a label identified with New Age music would have seemed highly improbable. But Anderson is only one of several who have done just that. Journey's Jonathan Cain and Neal Schon, also ex-Jefferson Starship guitarist Craig Chaquico, have re-invigorated their music with solo efforts on the Higher Octave label. Similarly, Anderson has found inspiration and new directions while in the Windham Hill camp - first with his Latin/world music venture entitled "Deseo," and now with "Toltec." The new album takes its cue from Native American philosophy. But the musical framework that couches that philosophy is predominantly Anderson's. Listeners familiar with, for instance, Robbie Robertson and the Red River Ensemble's groundbreaking album of 1994, "Music For The Native Americans," with its chants and drums, will find this to be a contrast. The Native American angle is in the words rather than the music for the most part, although there are snatches of traditional Indian songs. Though named after the pre-Columbian Toltec civilization of southern Mexico, Anderson's album draws from a general synthesis of Native American viewpoints. Indeed, apart from a handful of experts, few can claim much insight into Toltec philosophy, let alone music. The portrayal of the Toltecs in the CD booklet as wise beings who now live in the "Fourth Dimension, waiting to greet and help us uplift our Consciousness" has yet to be verified academically. But in any case it's not necessary to have a mystical view of the Toltecs to appreciate this album. Among Anderson's influences in this project were the controversial books written by Carlos Castenada under the guidance of his Yaqui Indian guru, the fabled Don Juan. Anderson has his own Native American guide in the form of Longwalker, whose contribution to the album includes some observations about mankind's spiritual connections to his environment. The gist of it is very much what you'd expect, stressing unity and reverence. But Longwalker expresses himself movingly, without tiresome clichis or sentimentality The musical hallmark, meanwhile, will be instantly familiar to anyone with a passing interest in Yes or Anderson. The strength is in the sonic kaleidoscope of effects rather than linear development of song structures. Textures, ranging from acoustic strings and primal percussion to synthesized atmospherics, from Mozart's Ave Verum to the singing of Mexican children, juxtapose so fluidly that the listener has to concentrate to absorb the full richness of this collage. Though his distinctive, somewhat husky voice comes to the fore occasionally, it is in the orchestration of so many varied elements that Anderson distinguishes this work. If, through some dimensional warp, the Toltecs could hear the album they may well adjust their earplugs in response to the sheer scale of the production. But at least they could take some credit for the quest embodied in the music, with its implication of a technology-bound era out of touch with its spiritual roots. Meanwhile, back in the First World, Anderson and his fellow Yes-men are facing a busy year with the prospect of a new album from the group and a summer tour. Close Window YesInThePress For site comments, problems, corrections, or additions, contact yitp@zenponies.com