Renaissance 'Symphony Of Light' Tour Will Debut, Conclude In Connecticut
In a recent chat with Annie Haslam, the multi-tiered soprano now leading the classical prog-rock ensemble Renaissance, I mentioned how in 1977, I was dragged along by high school pals Trish and Salli to see the band at Waterbury’s Palace Theater.
After playing me a recording of arguably their most accessible hit, “Carpet of the Sun,” I was intrigued enough to go, and it turned into one of those life-enhancing experiences music lovers crave and covet.
I suppose to their most ardent fans, there is a sense of ownership — a feeling like you’ve discovered a little personal treasure chest you can go to and open when you’re suffering through a momentary musical recession.
And I suppose to their first and second-generation fans who became hopelessly hooked on the band’s refreshingly hook-free and blissfully executed arrangements, the return of Renaissance to American concert stages in 2009 was nothing short of a miracle.
Like that magical night in the acoustically superior Palace, my latest Renaissance concert experience on the band’s last tour was an equally inspiring carpet ride through stories of “Scheherazade,” “Mother Russia,” the “Ocean Gypsy,” and the incendiary “Ashes Are Burning.”
New material from the writing team of Haslam and the late Michael Dunford like “The Mystic and The Muse,” and teasers from Renaissance’s new release Symphony of Light remained stylistically familiar, with the added energy of new blood in the form of long-time touring players, Rave Tesar on keyboards; David J. Keyes on bass guitar and vocals; Frank Pagano on drums and vocals; and Tom Brislin on keyboards.
The sudden passing of Dunford in November 2012 came as a horrible shock to the band’s newly revived and most recent crop of followers. So it's impossible to imagine how Haslam, who shared the stage and a lifelong friendship with Dunford, was able to face a future performing or writing without him.
But after some time to grieve and regroup, Haslam and Renaissance did just that.
Enlisting guitarist Ryche Chlanda, the band was back. And they chose Connecticut’s more rustic and equally wonderful sounding Infinity Hall in Norfolk for their first American date.
I respected how Haslam strode onto the stage with her curly half-smile - momentarily fading as she looked toward where Dunford used to stand at center stage - then caught herself, turning her attention to the opening number, “Carpet of the Sun.”
And as Murphy’s Law would have it, the opening few notes misfired when Chlada's guitar went silent. But instead of melting down, Haslam let out a hearty laugh, momentarily looking skyward as if to be sure Dunford was watching, before proceeding to to re-boot and re-started the show.
In an interview with her three days later, Haslam wasn't as upset about the opening night stumble as she was about a fundamental change in the band’s live sound as a result of the switch between Dunford’s more warm Martin acoustic guitars, and Chlada’s preference for the more raspy-sounding Taylor brand instruments.
And she vowed to fix it come hell or high water.
Lo and behold, the next US tour, which also made a stop at Infinity Hall, showcased a much better integration of Chlada’s guitars — very closely replicating Dunford’s instrumentation. And it appeared that, post-Dunford, there was still plenty of life left in Renaissance.
Haslam was still in fine form, eliciting chills when she would occasionally pop one of those stratospheric vocal passages, and a refreshed chemistry with their newest member seemed to be gelling. Hints of new, Dunford co-written compositions were revealed from the 2013 release Grandine il Vento, now re-titled Symphony of Light , which also features additional Haslam-Dunford tracks as well as “Renaissance Man,” written by Haslam and keyboardist Tesar in honor of their fallen friend and bandmate.
For many years, Haslam has also enjoyed a parallel creative lifestyle, rising to a respectable position as a painter, even taking commissions on occasion. Her art graces tiny canvases she exhibits and sells at each Renaissance concert and through anniehaslam.com, and her and colorful work is dispalyed on the new album cover.
It will also, she hinted, be integrated into an outfit she plans to wear during the band’s upcoming tour which opens October 23 at The Ridgefield Playhouse, and wraps up half a state away at Hartford’s shiny new Infinity Hall on November 5.
During our pre-tour chat, Haslam still talked a lot about Dunford, as well as the challenges of taking over the leading role in the ever changing but still creatively vibrant world of Renaissance.
Newtown Bee: So it must take incredible strength and commitment to get up there and do a show every night, or entertain the future of Renaissance without Michael Dunford — although based on the newest album, the band sounds as good as ever, maybe better.
Annie Haslam: Michael passed away in 2012, but he did co-write this new album with me. I don’t know if you knew the story, but in 2012 it was obvious we weren’t going to get a record deal being a heritage band. We learned about Kickstarter from a Tom Brislin, a brilliant player who was in Renaissance for a short period of time with Michael and me, and who conducted the Yes Symphonic Tour. Michael and I discussed it – I think at first we were a little embarrassed, you know, asking for money. It was an odd feeling, but if we didn’t do it we weren’t going to last very long without putting new music out. So we decided to go the Kickstarter route and it was the best thing we had ever done.
Bee: I’ve heard from other artists that there is no better way to experience the love of your fan base, besides being on stage?
Haslam: It’s really because they love the band so much, and they want to hear new music. It was enough to make the album – it was fantastic, really.
We processed all the pledges and created the various levels of investment the fans could make from $10 to $3,000. And the outpouring was incredible, and it was quick.
One of the pledge gifts was a bonus DVD, which I couldn’t do for a long time because there were so many memories wrapped up in that project with Michael. Mentally, I couldn’t bring myself to do it, to be quite honest. But I want the fans to know I’m working on wrapping that up now. It’s happening, and the fans should be getting that by mid-December.
Bee: And while you must look fondly back on that last tour with Michael, you had the distraction of a significant back injury, right? I remember you being on stage in some sort of traction device.
Haslam: It was a crazy year – but bittersweet. First we were in the studio making the new record and suddenly, as we were getting ready to tour, I developed a collapsed vertebrae. I was told I needed an operation, but after a second opinion, I learned I was not a candidate for that because of pre-existing osteoporosis. I was all set to do the surgery, but the second doctor prescribed me that metal brace for nine months.
Bee: Once you recovered, the decision to reactivate the band as a touring entity without Michael was a little shaky at first with the new sound and personality Ryche brought. But I saw the next tour and you all seem to have some great chemistry going. You looked like you were having fun again.
Haslam: It’s different. Ryche does a good job, but understandably I miss Michael so much. He was my friend for 41 years, but he was also the leader of the band. Everybody looked for him to lead us into the songs, and for how to correct when something’s gone wrong. But last year was a great year with a few festivals and the “Cruise to the Edge.” Unfortunately, I got an infection and lost my voice. But magically on the morning of the first show after that, my voice broke a couple of times. But I was honest with the audience, and I admitted I had been very sick. And I think it makes people love you more because they’re pulling for you.
Bee: Your rapport with your audiences is superb. You make a connection with both the fans and the mates who come along…
Haslam: …and the children. You know I love it. I love that contact and I think when you go away from a concert — especially these days —– I want people to go home with more than the music in their heads, whether it’s a big belly laugh, or that they learned something I’ve said while explaining some of the music we do. I get feedback from the fans that they take back so much more than the music.
Bee: Maybe it’s because whether it is some of your most well known material, or even the newest stuff, your voice and the band provides this musical blanket fans can wrap themselves in.
Haslam: The music of Renaissance is very special, there’s no doubt, and we’ll always be performing it. We’ve done this new album because we wanted to record with this band who has been so loyal for so many years, especially Rave and Dave Keith, who were with me since 1989. It means a lot to be on record with them.
Bee: So what are some of the new songs, or the old gems that your fans will be hearing on this fall tour?
Haslam: We’re going to be doing “Waterfall.” It was incredible when Michael first sent me the music over the Internet as a garage band arrangement. It was so easy to finish – like sitting in front of a canvas. It just poured out of me. It’s about my love for Brazil, and when I visited there last year, it brought tears to my eyes because I felt Mickey was with me.
We’re also doing “Porcelain,” which a lot of people say is their favorite, even though it’s very different. The interesting thing about this album is how every song is different from the last one.
Bee: The stylistic continuum is really all there – a new chapter of new music versus reinventing material that is already established.
Haslam: They all work, don’t they?
Bee: Are you adding any other classic material?
Haslam: We’re going to do “Opening Out” and “Day of the Dreamer.” And we’ll be doing “Mother Russia,” “Running Hard,” and “Ashes are Burning,” as an encore.
Bee: Have you entertained the prospect of creating more new music?
Haslam: Well, we haven’t really properly supported this new album yet. We need to try and get further afield — it was always difficult because we have eight people along on a tour.
We haven’t been on the West Coast in way too long. And we haven’t even gotten to do a full tour of England. People get upset, but they don’t know how challenging it is to put a tour on the road. Because we’re a legacy band, promoters only offer us a little money up front, and it’s hard to cover the costs of the hotels, the flights, the travel, rehearsals, you have to hire busses and trucks, along with wages.
I have finally brought on an assistant, however, so I’m finally learning how to do something new — delegating.
For tickets to the October 23 tour opener ($50), call the box office at 203-438-5795, or order online at ridgefieldplayhouse.org. The Ridgefield Playhouse is a not-for-profit performing arts center located at 80 East Ridge, parallel to Main Street
For informatio on the tour closer at Infinity Hall Hartford on November 5, or to purchase tickets, ($52 - $75) call 1.866.666.6306 or visit InfinityHall.com.
Check out a vintage .BBC Renaissance concert here
Learn more about the band and be a fan by visiting:
www.facebook.com/RenaissanceTouring
www.facebook.com/AnnieHaslamArt