{"id":539,"date":"2016-07-14T00:00:00","date_gmt":"2016-07-14T00:00:00","guid":{"rendered":"https:\/\/dev.nysmusic.com\/2016\/2016\/07\/14\/carl-palmers-elp-legacy-pays-tribute-to-keith-emerson\/"},"modified":"2016-07-14T00:00:00","modified_gmt":"2016-07-14T00:00:00","slug":"carl-palmers-elp-legacy-pays-tribute-to-keith-emerson","status":"publish","type":"post","link":"https:\/\/dev.nysmusic.com\/2016\/2016\/07\/14\/carl-palmers-elp-legacy-pays-tribute-to-keith-emerson\/","title":{"rendered":"Carl Palmer’s ELP Legacy Pays Tribute to Keith Emerson"},"content":{"rendered":"

When it comes to rock and roll drummers, Carl Palmer<\/a> joins the ranks of the most regarded drummers in the genre. Under the touring name of Carl Palmer\u2019s ELP Legacy, the drummer intended it to be a celebration of his 50th<\/span>\u00a0year as a professional musician. However, in early 2016 when tragedy struck his former bandmate Keith Emerson (who was set to join Palmer on a few shows), the show quickly turned around to a tribute to Emerson.<\/p>\n

\"S<\/a><\/p>\n

Palmer stopped by the Paramount Hudson Valley theater on June 16 with his performance, joined by Paul Bielatowicz\u00a0on guitar and Simon Fitzpatrick\u00a0on bass.\u00a0Without Emerson\u2019s legendary keyboard role in the mix of the sound, the group took a new form of power trio to interpret and present Emerson, Lake and\u00a0Palmer\u2019s music. Channeling the groundbreaking progressive rock format in this setting doesn\u2019t seem like an easy task, but Palmer did it in a fresh way that was just as exciting as ELP\u2019s recordings.<\/p>\n

\"S<\/a><\/p>\n

The two-set show started off with a punchy version of the Peter Gunn theme and continued with many of the iconic original and classical re-arrangements that make up the ELP library. Throughout the evening, Palmer took a moment between each song to break from the kit to share a story about the tune, particularly if there was a connection to\u00a0Emerson. Most notably, he dedicated \u201cPictures of an Exhibition\u201d to Emerson, which had been one of Emerson\u2019s favorites.<\/p>\n

\"S<\/a><\/p>\n

Palmer\u2019s band can properly be called a power trio \u2014\u00a0their sound was rich, robust, and complete to fill out the fresh take on ELP\u2019s songs. In a way, it sounded like a really good garage band with a progressive rock influence.<\/p>\n

Fitzpatrick\u00a0alternated between bass and Chapman Stick<\/a>, which coupled with Bielatowicz’s\u00a0guitar recreated Emerson\u2019s keyboard parts which defined many of ELP\u2019s songs. Behind them (or rather, front and center on the stage), Palmer\u2019s technical\u00a0 and powerful drum playing was just as, if not more, vivid than in his younger ELP years. Both Fitzpatrick and Bieltowicz\u00a0had opportunities to show their chops with solos \u2014\u00a0an instrumental version of\u00a0\u201cTake a Pebble\u201d by Fitzpatrick on Chapman Stick and Bielatowicz\u00a0with a multi-part solo\u00a0guitar solo right\u00a0before the intermission.<\/p>\n

Leading out of \u201cFanfare for the Common Man,\u201d Palmer broke out an extended solo, fairly routine at the start. Building up the solo, he mixed in some electronic drums buried in the kit. After a few minutes navigating the kit, a grin grew on his face as he stood up to show off some Buddy Rich-style stick tricks that drew some quick applause.<\/p>\n