----------------------------------------------- JULY 24, 2001 ----------------------------------------------- Source: Reno Gazette-Journal http://www.rgj.com/news/stories/lifestyle/996007035.php Orchestral Yes stands the test of time  By Michael Martinez  Many bands that established their legacy and fan base in the 1960s through the 1980s sustain their careers on their followers’ sense of nostalgia, the longing for that touchstone of past discovery. But renewed vigor and a sense of rediscovery — not fuzzy nostalgia — best captures the tone of Sunday’s performance by the still-progressive band Yes, which kicked off its 60-city Yessymphonic tour with the Reno Philharmonic at the Silver Legacy’s City Center Pavilion. Drawing from a vast songbook that formed the cornerstone of the progressive rock foundation in the early to mid-1970s, vocalist John Anderson, guitarist Steve Howe, bassist Chris Squire and drummer Alan White demonstrated the same musicianship, spunk and intelligence that has attracted a diverse, multigenerational fan base and has allowed them to continue to tour and release new albums into the new millennium. From the four-part self-titled suite off their breakthrough 1972 album “Close to the Edge,” to “Gates of Delirium” from the 1974 “Relayer” collection, the band infused each composition alternately with fresh bombastic bluster and introspective etherealism – mostly to standing ovations from the audience. The fans – from graybeards to 6-year-olds – more politely listened to tracks from the band’s forthcoming “Magnification” album, offering up tepid applause for the popish song “Don’t Go.” The audience, which filled up three-quarters of the pavilion, responded more enthusiastically to “In the Presence of,” which featured drummer White tickling out a plaintive theme on keyboards. Anderson recapitulated that theme and later – during one of the few moments its contribution was evident – the Reno Phil also reestablished that riff. The aural contributions of the orchestra — particularly its strings — were largely thwarted by the shabby acoustics of the City Center Pavilion. There was often confusion over whether you were hearing the orchestra – conducted by Yes musical director Larry Groupe – or the synthesizer work of Yes keyboardist Tom Brislin. Undoubtedly, other venues to which the tour will travel may better accommodate this orchestral rendering of Yes music. One constant during this tour will be the fresh energy of the band. Nothin fuzzy about them. Close Window YesInThePress.com For site comments, problems, corrections, or additions, contact YesinthePress@aol.com