Published on Jan 26, 1998
The world of progressive rock has been filled with superstar
collaborations in recent months. Back in November, we reviewed one
such partnership between Terry Bozzio, Tony Levin and Steve
Stevens, an album which knocked my socks off.
Another recent partnering has been that of noted keyboardist
Jordan Rudess (Dixie Dregs, Vinnie Moore, Dream Theater) and Rod
Morgenstein (Winger, Dixie Dregs), whose musical brotherhood was
cemented when power to all but Rudess’s keyboard rig was lost at a
Dregs concert — resulting in an impromptu jam that left the crowd
on its feet.
Their first album together,
Rudess Morgenstein Project, often has me in disbelief that
all I’m hearing is keyboards and drums, and is a satisfying but
flawed album.
The musicianship featured on this album is impeccable; two
musical virtuosos pushing each other to new limits without sounding
like they’re showing off on their respective instruments.
Morgenstein might be scoffed at for his membership in Winger, but
make no mistake that his talents behind the drum kit are quite
respectable.
And Rudess pulls sounds out of his keyboards that will leave
your jaw scraping the floor. Believe it or not, with one minor
exception, everything you hear is actually coming from a keyboard,
not a guitar. (The one exception is an uncredited performance by
Kip Winger at the end of “Masada,” one of the masterpieces on this
album.)
When Rudess and Morgenstein plow their rock roots, the results
are incredible; such examples may be heard on “Sloth” and “Drop The
Puck”. Even a throwaway theme like that of “Cartoon Parade” has a
light breeziness to it that will put a smile on your face.
And even when the music takes on a serious face, as it does on
“Masada”, “Odd Man Out” and “Never Again,” Rudess and Morgenstein
add their own unique touches to the music to keep it both original
and entertaining.
So with all these strengths I’ve mentioned, how could I call
Rudess Morgenstein Project flawed? Two reasons: time it
takes to develop musical ideas and listener interest. Often, it
takes more than a minute for the two to get past the intros and get
to the point of their music – and even there, the heart of the song
might still be some time away. I think this might tend to scare or
bore a few listeners away from this disc – had the concepts been
tightened up just a little bit, this disc would have been that much
better.
In addition, it does sometimes get tiring to hear just keyboards
and drums. Maybe next time, one of the two will be willing to throw
a vocal in here and there, or even invite a guitarist or bassist to
join their parade – something to fill out the sound a little
more.
Rudess Morgenstein Project will surprise and startle fans
and critics of bands these two have played with in the past, and
given a little more musical development together, they could be one
of the biggest names in progressive rock today. Until then, this
disc will do nicely.