In parallel to his multiple projects, including his latest one Sons Of Apollo with Mike Portnoy, Derek Sherinian is leading a solo career that he started with "Planet X" in 1999. After a decade break following "Oceana", Derek is back with his faithful drummer Simon Phillips on "The Phoenix".
"The Phoenix" is Derek's opportunity to let go and explore many of the styles he loves. It is with the envy of the survivor that he begins his record with an unbridled 'The Phoenix', on the verge of a jam session in which Zakk Wylde and Billy Sheehan are untenable. After this explosion of euphoria that goes a little in all directions, Derek finds his ideas and his celestial melodic affinities. This is embodied in the usual metal-fusion formats like the modern and technical 'Octopus Pedigree' or 'Empyrean Sky' and 'Temple Of Helios' in which Derek finds all kinds of vintage sounds more nuanced than some of the big saturations he is used to. Derek enjoys playing the piano in the intense jazz-rock interpretation of 'Dragonfly' which refers to the Project Trio Hiromi (of which Simon Phillips is a member).
As usual, Derek did not come alone on this disc. There are regulars like Zakk Wylde, Billy Sheehan and Tony Franklin and newcomers like Steve Vai and Ron Thal. The choice is once again very judicious because the strong musical personality of these musicians brings a plus in the compositions in which they intervene. For this record, Derek even lets himself be strongly influenced by the musicians who accompany him, to the point of composing pieces in the style of his guests. It is clearly remarkable on the aerial 'Clouds Of Ganymede' offered to the divine touch of Steve Vai or the blues-rock cover of Buddy Miles 'Them Changes' dominated by the voice and fingers of an imperial Joe Bonamassa. In the very progressive 'Pesadelo', Iberian tones can be heard coming out of Kiko Loureiro's guitar.
Derek Sherinian relaunches his solo career in the best possible way with this "The Phoenix" which, by its diversity and ease of listening, stands out from his usual productions. "The Phoenix" is the testimony of an artist who has nothing more to prove and a composer who does not impose his presence by overexposing his keyboards because, on the contrary, he is often at the service of the musicians around him.