Jordan Rudess - Notes on a Dream
CD Review 
Ciro Hiruma
Creating new versions of classic rock is a risky adventure. Jordan Rudess, keyboardist of Dream Theater, tried this proposal on the CD The Road Home, which provides cover-versions of Yes, Gentle Giant, Genesis, Emerson Lake and Palmer, among other big names in the progressive movement.
The result of this work was uneven, not through the fault of the performance of keyboardist. The lack of tuning and performance of other musicians affected the project.
In Notes on a Dream, Rudess brings a similar proposal, this time with acoustic versions of their own Dream Theater, at the piano. And three new compositions. Besides knowing the material well, Jordan knew his remarkable technique dosed with maturity and common sense, avoiding excesses in his performance.
You can hear the influence that the singer received two keyboardists progressive benchmark for their learning: Keith Emerson, Patrick Moraz (Yes, Moody Blues).
The CD opens with "Through Her Eyes," which had a natural emphasis on keyboards. So the proposal was to add Rudess improvisations which added many new features to the original arrangement.
"Lifting Shadows off a Dream", in turn, became more dark, dense, perfect for a thriller. Especially emphasized the quality of the composition. "The Silent Man" follows in the opposite direction is an exercise in free jazz style. Exciting and creative.
Some tracks really surprising, as the lightness Jordan adds that in "The Spirit Carries On". Without the weight of the band takes on another dimension, more intimate and sober. And "The Answer Lies Within" was better than the version of Dream Theater, after the music was not a highlight of the CD Octavarium.
Who knows the "Speak to Me" original may be curious to know how it was adapted to the piano. The impression is of an arrangement to be worked hard. And the strategy of keyboardist was radical. Although it has highlighted some aspects of melody, put strain on the subject, became more somber.
CD Train of Thought came out "Vacant," which continues the same vein of melancholy, but without major changes. The same goes for "Hollow Years", the piano follows closely the arrangement of guitar John Petrucci. Still, the recreations are fully valid.
Comment missed Rudess new compositions, which are almost vignettes, but they are nonetheless essential in the context of the album.
The classical line of "Perpetuum Mobile", travels sounds of Johann Sebastian Bach and Alberto Ginastera (who heard Keith Emerson playing "Creole Dance", written by the composer, will recall immediately).
Collision Point "and" The Grand Escapement "are dynamic in the extreme and show that the keyboardist is betting on new methods of composition.
The next article presents the latest installment of the trilogy of "keyboardist of Dream Theater," which began in previous post with molecular Heinosity , Derek Sherinian. Stay tuned!
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