Rating: A

 

Jack Butler was only the beginning, for Where The Wild Things Are sees Steve Vai reach deeper than ever, conjuring more mojo that his Crossroads character could imagine. 
 

Within this handsome two-disc set beats the heart of an artist not afraid to showboat — or allow his equally talented band to strut their musical stuff, as well. And what a lineup! Pumping bass duties is Bryan Beller, with Jeremy Colson pounding out some insane rhythms and Dave Weiner the six-string foil to Master Vai. And lest we forget Stevie V's secret weapons: Ann Marie Calhoun and Alex DePue on violin.
 

Not since Jean Luc Ponty — or Mark Wood, for that matter — has the instrument that gave Antonio Stradivari immortality been woven so seamlessly into rock 'n' roll. Then again, Vai's music isn't so much rock 'n' roll as it is insanity careening off hell's sheet music. Equal parts jazz, rock, and classical (in terms of its meticulous arrangements), it's an amalgam of all things tonal. 
 

Setting the stage is "Paint Me Your Face," which quickly dispels any notions of subpar video quality. Cameras zoom in and out, giving each musician optimum visibility and viewers optimum satisfaction. We see each player's hands with such clarity, that the performance is several music lessons in one. Rather than quick-cut among band members, multiple cameras glide smoothly and present the concert experience as it was meant to be. One almost feels they attended the Minneapolis performance.
 

Vai fanatics have much to enjoy. With a set spanning Passion & Warfare, Alien Love Secrets, Flex-able and other releases, the performance spans many phases of Vai's prodigious career. And what's not to love about a guy giving equal time to his band mates? Especially impressive are Calhoun and DePue, who harmonize with Vai's insane guitar lines seamlessly. What John Petrucci and Jordan Rudess bring to Dream Theater, these musicians bring to Vai's aural palette. And then some. 
 

The violinists even revisit "Eugene's Trick Bag," the Crossroads duel that marked Vai's theatrical debut. Most impressive is "For The Love Of God," in which Vai famously fasted before recording for Passion & Warfare. What would understandably be a composition left for solo guitar is shared among Vai and his band. Each musician makes Vai's material that much better in a live setting. Whether it's Jeremy Colson hamming it up in a rather unique outfit (tattooed drummer dons diapers and a percussive truss, anyone?!) or Weiner turning heads with his own solo showcase, Vai's band is truly a "band." 
 

Sure, he's ostensibly the big cheese conducting the proceedings. But unlike most conductors, Vai waves no baton. No, he conducts by playing. 
 

Bottom line? Vai freaks will love Where The Wild Things Are, which peels off more notes than Apple produces notebooks. But casual viewers be warned: diving into this musical maelstrom may overload your circuits. If occasional dissonance doesn't dissuade and you make it through the Jemini effects pedal demonstration, congratulations. You're in good company. Vai would agree. And so would Vai (see Jemini demonstration for full understanding)

 

— A. Lee Graham