LEVIN MINNEMANN RUDESS – From The Law Offices Of (2016)

“From The Law Offices of Levin Minnemann Rudess” is the new, second album by LEVIN MINNEMANN RUDESS, following the trio’s eponymous debut, released in 2013. All three members are legends in their own right – this is definitely one of those rare occasions when a band such as this deserves the label “supergroup”.
However, this is no monolithic exercise in grandiosity, such as we might have come to expect from a supergroup. Rather, this is the sound of three extraordinarily talented musicians with enormous technical skill showcasing their own visceral thrill in the process of creating music that doesn’t fit in any particular genre.

From guys who have built careers from defying expectations to become the class of rock musicianship, Tony Levin, Marco Minnemann and Jordan Rudess continue to reveal what more is possible in instrumental, progressive rock.
“From The Law Offices Of Levin Minnemann Rudess” is a sure signal that the possibilities didn’t get exhausted on their lauded self-titled 2013 project Levin Minnemann Rudess.

This new album strikes a balance between fun and facility, or perhaps it’s more accurate to just state that it piles on both of those things. These songs get a groove going no matter the time signature, and the delineation of these songs have so much detail and twisting turns to them, there’s no need to resort to instrumental wanking to keep listeners engaged. The serpentine melodies and the precision by which they play them oftentimes is the solo.
So yes, it stands to reason that the world’s foremost practitioners of the bass & Chapman Stick (Levin), keyboards (Rudess) and drums (Minnemann) within the artful end of rock are going to show us what they can do, and in case you’re wondering how can this truly rock without some guitar, it should be noted that Minnemann wields the electric guitar for the occasion. But you gotta have the right material to leverage the skills and LMR delivers there, too.

So many times a song is deceptively simple and then they pivot on a dime to a completely different domain; they flat-out can’t and won’t stand still, and aste little time getting ideas across.
“A Good Day Hearsay” is a prime example of their signature sound, whereby a metallic crunch kicks off the performance but the boys scramble it tightly together in an organic fashion, aiming to fit a whole vinyl side of prog rock ideas in the space of three and a half minutes.
“Back To The Machine” boogies in a galloping 5/4 time might be as straightforward as it gets on this record, and even then it’s bursting at the seams. Levin defines the riff as Minnemann holds back nothing on drums and Rudess lobs a roomful of keys at the effort, including an arena-worthy synth solo that replicates a rock guitar solo with striking accuracy.

“Riff Splat” is as the name implies, a monstrous bass riff joined invariably by Minnemann on guitar. Rudess manages to insert an almost saloon piano into the aggressive groove, remindful of the daring to blast through genre walls that the late Keith Emerson often showed with ELP. As the song settles into a impenetrable groove, Minnemann is the guy extemporizing but nonetheless firmly holds down the stilted beat.
“Ready Set Sue” has the mathematical, machine-like proficient funk. The power fusion number “Witness” is initially led by a chorus of whistles — and it magically works. But never content to sit on an idea, the song takes several excursions before revisiting the theme.

“The Tort” moves with modern efficiency and heaviness but with Levin holding down the center so securely, Minnemann and Rudess are free to keep things interesting.
After what’s come before, the nimble, light-on-its-feet “Marseille” is nearly pop confection by contrast, as Rudess throws in a deft mixture of classically-inspired piano, Rick Wakeman organ and soaring 70s-inspired analog synths. “When The Gavel Falls” is led by the milky flow of Rudess’ piano and synthesizers save for a middle segment where Levin’s bass come raining down.

“From The Law Offices of Levin Minnemann Rudess” is a pleasingly coherent and hugely enjoyable record, especially for long-standing fans of the musicians involved, who all get ample space and opportunity to show clearly why they are all so well-regarded.
It’s a meeting of musician’s musicians, but they create music that fans of all type of rock genres crave.

When virtuoso musicians work together, there’s always a concern that the results might be a showy, over the top mess as sizable egos clamber over each other for domination; happily that is the exact opposite of what has happened with this trio.
Rather, their music feels effortless, uncontrived; there’s a natural meshing that feels extraordinarily relaxed and natural. This album displays an increased confidence in the trio working together as a group, a small but significant increment in their ability to bring out the best in each other and an added boldness to their ensemble playing.

If you enjoyed their first record, this is a must; if you’re new to the trio’s work, this is perhaps an even better introduction to their music than their debut. Either way, this is a very enjoyable record – whilst all the members of the trio are busy with their own projects, let’s hope that they’ve all got room in their full diaries for another helping.
Tremendous.

01 – Back To The Machine
02 – Ready Set Sue
03 – Riff Splat
04 – What Is The Meaning
05 – Marseille
06 – Good Day Hearsay
07 – Witness
08 – Balloon
09 – When The Gavel Falls
10 – The Verdict
11 – Free Radicals
12 – Magistrate
13 – Shiloh’s Cat
14 – The Tort

Tony Levin: Bass, Chapman Stick
Marco Minnemann: Drums, Guitars
Jordan Rudess: keyboards, synths

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