Tag Archives: Chris Squire

Remembering Chris Squire

Yes, going round and round and round…

A year has come and gone since the passing of Yes bassist Chris Squire, and his absence is palpable. I was lucky enough to see him twice, during the In The Round tour of 1978, supporting the Drama album, and then in 2013 in Massey Hall, Toronto.

Although I have been a fan of Yes since the mid 1970’s I never truly appreciated the enormous musical power provided by Squire and his road-worn Rickenbacker.

Whereas many bass players are content to stand back and drive the bus, Squire was never in the background, literally or musically. His enormous persona dominated the live stage. He strode around like a Tolkien giant, conducting his band mates and the audience simultaneously, alternately scowling in concentration and then beaming with satisfaction.

But it was his virtuosity as a musician that was really head and shoulders above most of his contemporaries. For Yes, the bass was never just an device that delivered the bottom end of a tune. Squire played it as a full instrument, delivering lines and counter melodies in exquisite harmonies – often minor – to those being played by the equally fiery fingers of the other brilliant musicians who were part of the lineup at one time or another.

Squire played bass the way Bach wrote his fugues. Melodies crossed over each other with force, yet with delicate balance. I would love to have been a fly on the wall in the recording studio, watching the collective genius of Squire, Howe, Anderson et al as they pieced together their tunes.

I am also fascinated by successful musicians like Squire who hang on to the same guitar for decades, as he did with his cream colored Rickenbacker. Like so many others, he had the money and pretty much every instrument manufacturer on the planet eager to give him a guitar or ten to play and endorse, And yes, he did have a few of those. But above it all, he stayed with his 1965 Rickenbacker, through re-paintings, neck shavings and even the odd piece on it that didn’t work. I love that. Andy Summers of the Police and his beat-up double coil Telecaster; Sir Paul and his Hofner Beatlebass. Brian May’s Red Special. It’s wonderful when these people stick with their favorite instrument like an old sweater, even in spite of the carefully made replicas available.

There is some fabulous pro-shot footage of Yes playing live in 2002, which shows the band in top form. Everyone seems to be smiling, and the chemistry between Squire and drummer Alan White seems to be extremely strong. They close with I’ve Seen All Good People, and the show is made even more powerful by the presence of the awesome Contemporary Youth Orchestra. Here’s the link to YouTube.

With Squire’s untimely passing, the band has moved into a new edition, with longtime sideman Billy Sherwood taking on the task of filling Squire’s enormous shoes, again, both literally and metaphorically.

There are sadly very few bassists who are recognized for their virtuosity, stepping over that line from fancy bass work to actual composition. Sir Paul is one, certainly, Geddy Lee, absolutely, and Les Claypool. I find the hallmark of great music to be something you can play over and over again and never tire of it. In large part due to the sophisticated layering of so many great musicians, much of the Yes catalog fits into that category, thanks to the genius of Mr. Chris Squire.

 

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Yes! You Can!

Yes at Massey Hall, April 11, 2013.

Yes at Massey Hall, April 11, 2013.

We went to see Yes play at Toronto’s Massey Hall yesterday (April 11). That’s my back-of-the hall iPhone photo. They delivered a flawless performance, playing three albums in their entirety, and ending with “Roundabout.” Just like the Rolling Stones and so many others, they dispel the myth that live performers have an expiry date, and though most of the Yes line-up are now in their sixties, they powered through the tunes with a crisp accuracy that very few bands can attain. Massey Hall has excellent acoustics, and the signature sounds of Yes – Chris Squire’s custom-wired Rickenbacker 4001, and Steve Howe’s crystal-clear guitars reached all the way up to the nosebleed seats.

So, indeed most of the band members are in their sixties, but not so the lead vocalist, Jon Davison. Jon is amazing. He sings with pronounced passion and soul in the demanding alto range established by his predecessor, Jon Anderson. Even their names are strikingly similar. He blends so well with the music and looks so happy up on stage, it was hard to believe he is such a new addition to this giant of a band.

Yes frontman Jon Davison. Photo from Wikipedia.

Yes frontman Jon Davison. Photo from Wikipedia.

His story, too, is an amazing one, mostly because he has lived the dream of many hundreds-of thousands of musicians: he went from fronting a tribute band to fronting the band itself. How unbelievably cool is that?

According to Wikipedia, Jon was a musician friend of Foo Fighters drummer Taylor Hawkins, and long story short, Hawkins was also a friend of Chris Squire. So the connection was made.

An ironic twist here – Davison actually replaced another tribute band frontman, Benoit David of Montreal, who was the first to take the heat from Yes purists for replacing Jon Anderson, and who was sidelined, just like Anderson, with respiratory issues.

So along comes Jon Davison, and his voice peals beautifully through the complex verses of 1970’s Yes, and captures the spacey, lyrical Roger Dean-ish mindscapes that most members of last night’s audience grew up on.

For someone such as myself, who relishes virtuoso musical performance, and who strives to play as accurately and as soulfully as his own minor talent will allow, to watch truly gifted artists at work is an absolute pleasure, and to see artists such as Davison literally fill the space between legends such as Squire, Howe, Alan White and Geoff Downes, adds an additional vicarious thrill.

Yes has a gruelling tour schedule ahead of them. I wish them many, many standing ovations along the way. They deserve them all.

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