Carl Palmer is considered to be one of the world’s preeminent rock drummers.

Born in England in 1950, Palmer started taking drum lessons as a child. As a youngster, he admired The Beatles, but was also a fan of other artists including drummers Buddy Rich, Art Blakey, and Gene Krupa, in addition to other jazz musicians. In his late teens, Palmer co-founded the band Atomic Rooster, but realized he preferred working in a smaller group setting where he could emulate the work of the jazz players he admired.

He soon crossed paths with bassist/guitarist Greg Lake of King Crimson and keyboardist Keith Emerson of The Nice, and they created the progressive rock trio, Emerson, Lake and Palmer. In their first five years, the group released such top-selling recordings as Emerson, Lake & Palmer (1970), Tarkus (1971), Pictures at an Exhibition (1971), Trilogy (1972), Brain Salad Surgery (1973), and Welcome Back My Friends to the Show That Never Ends ~ Ladies and Gentlemen (1974).

Through his work with ELP, Palmer has become one of the most highly respected rock drummers in the world.

Following the break up of Emerson, Lake and Palmer, Palmer joined John Wetton from Uriah Heep, Steve Howe of Yes, and Jeff Downs of The Buggles to create the rock supergroup Asia. The group’s self titled album, Asia — featuring the single “Heat of the Moment” — went on to become the best-selling album in the United States in 1982.

Nowadays, Palmer still tours — notably, with his band, Carl Palmer’s ELP Legacy — a group which is just about to take the stage this Sunday, November 17, 2019 at South Orange, NJ’s SOPAC auditorium.

Just before the show starts, we take a moment to chat with several Carl Palmer fans including Steve from Nutley, who is here to enjoy tonight’s performance with his teenage daughter.

Explains Steve, “I’m an Emerson, Lake and Palmer fan. My older brothers played their music, and I have all of their albums. In fact, my computer screensaver is the Brain Salad Surgery album cover, and my ringtone is their song, “Karn Evil 9,” which features the lyric, “Welcome my friends, to the show that never ends.”

When asked what appeals most to him about ELP’s music, Steve acknowledges, “It’s the jazz-classical-rock mix, along with the quality of the players,” exclaiming, “It’s amazing that just three guys could make all that music!”

Revealing, “I’ve seen Carl Palmer’s ELP Legacy group about five or six times,” Steve acknowledges, “They play all of Emerson, Lake and Palmer’s music, but instead of keyboard, bass, and drums, their lineup is guitar, bass, and drums,” adding, “and even without a keyboardist playing organ, synthesizer, and piano, they can still play the extended pieces of music that ELP is famous for.”

Revealing, “I’m a drummer, so I enjoy watching Carl Palmer perform live,” Steve notes, “I’ve played ELP and Asia music for my kids, and now my daughter has become a fan.”

Says Steve’s daughter, Meghan, 16, “I really like Asia. They play classic rock,” before declaring, “and their songs are more like three minutes long!”

Recalling, “My favorite Asia song is ‘Heat of the Moment,’” Meghan explains, “but I like a lot of what Carl Palmer and the band can do because his drumming is of such high quality.”

Next, we chat with Moshe from Princeton who says, “I’m a huge ELP fan,” recalling, “My dad listened their music, so I’ve always wanted to see Carl Palmer perform live, and that’s what brought me here this evening.”

Lastly, we chat with Jamie from Morris Plains who contends, “I’m a fan of ELP, too. I never saw them as a group, but I did see Carl Palmer about two years ago and I liked him so much I came back again tonight.”

Continuing, “His music is so good — I especially enjoy the classical covers he does,” Jamie asserts, “It’s so nice to be able to see some of the great artists who are still touring, and Carl Palmer is one of them — he’s a fantastic drummer.”

The SOPAC auditorium lights dim and the sound of a church bell tolling fills the room as three musicians — Paul Bielatowicz on lead guitar, Simon Fitzpatrick on bass, and Carl Palmer on drums — take the stage.

Immediately, the audience experiences the wall of sound that is Carl Palmer’s ELP Legacy.

Opening with a number from ELP’s Brain Salad Surgery, “Karn Evil 9 1st Impression, Part 2,” the group sings “Welcome back, my friends/To the show that never ends/We’re so glad you could attend/Come inside, come inside.” Bielatowicz’s mouth echoes the sound produced by his fingers flying over his strings on this high-energy progressive rock number on which Palmer plays his drums double time before ending with a sweeping percussion flourish.

Audience members stand and cheer before the group segues into their rendition of Johann Sebastian Bach’s “Fugue in D minor.” As images of the Phantom of the Opera appear on the screen overhead, the sound of a church organ can clearly be discerned played by Bielatowicz on his electric guitar and Fitzpatrick on his Chapman Stick — a ten-string electronic instrument which is played by tapping its strings. Palmer crashes his cymbals on the band’s dramatic take on this baroque composition which elicits cheers from the crowd.

Palmer takes a minute to step away from his drums and welcome tonight’s crowd before introducing his bandmates.

Acknowledging, “I always thought this next song was an original until a guy came to the door one day claiming we had stolen a piece of music — and Keith Emerson went out on the fire escape!” Palmer introduces “Knife Edge” from ELP’s debut album, Emerson, Lake & Palmer.

With Fitzpatrick and Bielatowicz playing the number’s catchy ostinato line on Chapman Stick and guitar, Bielatowicz ominously sings, “Just a step cried the sad man/Take a look down at the madman/Theater kings on silver wings/Fly beyond reason,” while Palmer keeps perfect time. As the arrangement builds, the rhythm roars ahead and the musicians race with adrenaline all the way through to the conclusion.

The crowd cheers and Carl jokes, “Is it loud enough?” At this point, he and the band launch into the title track from the ELP’s 1972 album, Trilogy.

Fitzpatrick opens on electric bass and Bielatowicz counters on guitar as the string players alternate playing the melodic introduction. While the screen flashes a silhouette image of a man and woman in the starlight, Palmer’s mallets shimmer on his cymbals.

Fitzpatrick and Bielatowicz each play their own melody and countermelody which weave and intertwine, creating a mystical vibe of strumming and picking that morphs into an upbeat driving 5/4 section.

Bielatowicz’s guitar sound echoes that of jazz artist Pat Metheny before he mouths “OMG!” while playing and the song shifts to a 6/8 meter.

A mass of rhythm and sound moves forward and circles around simultaneously as Bielatowicz shines on his indescribable guitar parts, accompanied by Palmer’s world-class drumming and lights which flash as the song rolls to a satisfying conclusion.

Several audience members stand and Palmer takes a moment to introduce Simon Fitzpatrick who plays a solo on the Chapman Stick. Amazing the crowd as he moves up and down the instruments’ unique fretboard, his fingers tap the strings as he plays a polyphonic two-part line. Changing the timbre with the press of a foot pedal, Fitzpatrick sustains an organ drone. Tapping softly on the Stick, he goes on to create a rhythm track which he records live before adding additional accompaniment parts to the mix. Lastly, he adds a lovely melody on top of his multi-track masterpiece creating an instant symphony from his single instrument.

The audience cheers and Palmer introduces the group’s next number. Revealing, “This was our first hit, written by Greg Lake,” Palmer explains, “He wrote it when he was 7, 8, 9, or 10 years old.”

On this song from ELP’s self titled debut album, “Lucky Man,” Bielatowicz sings, “He had white horses and ladies by the score/All dressed in satin and waiting by the door/Oooh, what a lucky man he was/Oooh, what a lucky man he was,” as Fitzpatrick accompanies him playing the recording’s original Moog synthesizer part on his Chapman Stick.

Images of ELP on the road fill the screen as Bielatowicz sings harmony with himself on this beautiful 6/8 composition and Palmer expertly fills in the spaces on the drums. Audience members watch with rapt attention, mesmerized and transfixed by these three talented performers before cheering and standing in appreciation.

Next up is “21st Century Schizoid Man,” a loud and driving head-banging number which was originally recorded by King Crimson. Images on the screen morph and swirl into shapes and faces as Bielatowicz sings, “Cat’s foot iron claw/Neuro-surgeons scream for more/At paranoia’s poison door/Twenty-first century schizoid man.”

On this number, Fitzpatrick shines on the Chapman Stick as the three musicians build the song in terms of its intensity and velocity.

Shots fired from Palmer’s drums sound off as the trio of instrumentalists make their way through the piece together with precise band stops and starts. Dynamics diminish and intensify before the ultimate conclusion where Palmer ends with a scintillating drum roll which elicits hoots and hollers from the crowd.

During a short intermission, we chat with several audience members who share their thoughts with us about Carl Palmer’s ELP Legacy’s performance thus far.

Sitting down front of the auditorium we find Bob from Mountainside who declares, “I love this group!” Noting, “I saw Carl Palmer’s ELP Legacy group two years ago,” Bob explains, “At the time, there were no vocals, but this time, there are vocals.”

Recalling, “I also saw the original Emerson, Lake and Palmer band at Madison Square Garden,” Bob asserts, “This group is different — but just as good,” before joking, “and when Carl Palmer hits those bass drums, the entire floor shakes!”

Bob’s friend, Mike from Marlboro, concurs adding, “It’s amazing to have this tribute to the music of Emerson, Lake and Palmer — and with no keyboards!” Continuing, “I appreciate the virtuosic musicianship of all of these players,” Mike adds, “And from where we’re sitting, we can feel the music with our whole bodies!”

We also chat with William, age 15, from East Brunswick who recalls, “I’m a fan of ELP, Asia, and prog rock in general, and I can tell you, this group sounds really good tonight.” Continuing, “I like how Simon Fitzpatrick plays the Chapman Stick as if it’s a keyboard,” William adds, “and I like how the group mixes in songs from other bands like King Crimson,” before declaring, “Carl Palmer is just awesome!”

William’s dad, Rich, agrees adding, “It’s great to have my son into prog rock,” suggesting, “He knows more about it than I do.” Noting, “It really is amazing how Fitzpatrick can tap on his Chapman stick and make it sound like a keyboard,” Rich also points out, “And I like Carl Palmer — he really connects with the audience,” prior to concluding, “Plus, I like this venue a lot, too — it’s very intimate and it has really good sound.”

Act II begins with guitarist Paul Bielatowicz taking the stage alone and announcing, “I’m going to play some Beethoven.” Here, he launches into a solo guitar version of “Moonlight Sonata.” He starts out slowly picking out a melody on his electric guitar and adds chords before fingerpicking rapidly to a pre-recorded rhythm track.

With his synthesized guitar sound filling the theater, lights flash as his fingers fly and Bielatowicz makes his guitar emote with his whammy bar. Smiling at the audience as he plays with passion and skill, he dramatically pauses before trilling notes and playing riffs on the classical composition’s thrilling conclusion, wiping his brow in feigned relief at the end.

Palmer and Fitzpatrick join him on stage and launch into the extended centerpiece of ELP’s 1971 recording, “Tarkus.” As an image of an armadillo tank flashes on the screen, the band’s wall of sound takes no prisoners as it slays the crowd. Palmer’s banging of the gong brings cheers from the audience, and the crowd continues to watch him as the song’s complex arrangement builds in intensity, the waves of sound traveling across the stage to the listeners’ ears like a secret message code.

Singing into a voice processor, Bielatowicz croons, “Has the dawn ever seen your eyes/Have the days made you so unwise/Realize, you are,” as Palmer squarely plays on his high hat and cymbals while simultaneously working his double bass drums.

While Bielatowicz reproduces the sound of Keith Emerson’s organ with his guitar, Fitzpatrick prog rocks out on his Chapman Stick, and Palmer plays African-styled rhythms featuring extensive use of the cowbell.

The audience cheers even before the piece has concluded, hooting, hollering, and whistling for Palmer and his talented stage mates all while leaping to their feet at the end.

Palmer responds by exclaiming, “That was hard!” and a fan replies by yelling out, “That was amazing!”

Palmer tells the crowd, “This next song is off the ELP Live album. It was something we used to jam around with in the rehearsal room.”

Here, Palmer and ELP Legacy play 20th century composer Carl Orff’s “Carmina Burana.”

Opening with a symphonic drone sound, the band plays the famous melody from the soundtrack of the 1976 horror film, The Omen. Fitzpatrick’s bass plays high and he uses a wah-wah pedal to shape his instrument’s tone. As Fitzpatrick shifts to playing chords on his bass, Bielatowicz holds his guitar upright, mouthing as he plays, making his instrument sing while Palmer rocks out on drums.

Fitzpatrick and Bielatowicz play fast licks in harmony and lights flash as Palmer’s drums race and fill before the trio incorporates a snippet of Dave Brubeck’s “Blue Rondo a la Turk” melody into the mix.

Creating his musical magic, Palmer morphs into a rhythm machine — smashing his drums with speed, precision, and power to enthusiastic audience applause and cheers.

Palmer responds by stating, “We’re going to finish tonight with Aaron Copland,” prior to joking, “If you clap loud after this one, we’ll come out and do another one.”

Here, the group performs “Hoedown.” As images from Hollywood Western movies fill the screen, the trio takes off sounding like a runaway train on this American classic from Copland’s Rodeo ballet.

Bielatowicz plays the melody used in the famous “Beef. It’s What’s For Dinner” advertising jingle on his guitar while Palmer and Fitzpatrick provide rhythmic accompaniment.

As Bielatowicz solos, he incorporates the folk song, “Shortnin’ Bread” into his improvisation. Fitzpatrick follows up by plucking his bass with his thumb and fingers, channeling the sound of legendary jazz bassist Jaco Pastorius. The piece ends with united cheers from the standing crowd consisting of “yippees,” “whoos,” “yeahs,” and whistles all around.

Palmer announces, “We’ve had a lovely time!” before he and the band perform an encore of Aaron Copland’s “Fanfare for the Common Man.”

The sound of trumpets rings out and the world-class drumming of Carl Palmer shines in the spotlight as scenes of historic ELP concert drum solos light up the screen.

On a drum solo designed for the ages, Palmer performs with lightning speed and precision, making his drums sing as he plays drum rolls with a single stick before adding a second stick to the mix.

Rolling from snare drum to tom-toms to cymbals, Palmer crosses his arms, all while working his double bass drums.

Eyebrows twitching, Palmer plays pianissimo, making his cymbals answer one another before pausing to play a cymbal with his fist.

Flipping his sticks as he plays, Palmer stands to reach additional cymbals before paring things down to where he simply and creatively plays one drumstick on another drumstick.

Following intricate tapping of alternating cymbals and sticks, Palmer plays all around his cymbal before doing something extraordinary — he balances a drumstick while playing his cymbal with his other hand!

Continuing to play on drums, rims, and even an electronic drumhead, Palmer ultimately plays with no hands at all. Using just his feet on his double bass drums, he replicates his signature ELP move, taking off his shirt as he plays.

Shifting over to gongs with mallets behind him, Palmer eventually returns to his expert use of drumsticks on drums and his musical colleagues rejoin him on stage.

The crowd stands and cheers for this exemplary performance, the band ending with an extended fanfare for this man who is anything but common.

As audience members filter out of the SOPAC auditorium, we chat with several in the crowd who share their opinions of Carl Palmer’s ELP Legacy concert.

Exclaims Mike from Freehold, “Welcome back to the show that never ends — Carl Palmer was just outstanding!”

Robert from Glen Ridge agrees adding, “You gotta see this band to believe them.”

Kevin from Little Falls remarks, “In a word — they are FANTASTIC!”

Acknowledging, “Carl Palmer is one of my idols — he’s the #1 drummer in the world,” Kevin continues, “I recommend that everyone come out to see him — he is just excellent.”

Mike from Cedar Grove concurs adding, “Carl Palmer is awesome, and he never lets you down. He puts everything into his shows — so much energy; it’s hard to believe he’s nearly 70 years old and still kicking it.”

Steve from Morris Plains asserts, “Carl Palmer does not only have amazing technical ability, he also has amazing energy.”

Jeff from Rochelle Park agrees adding, “He’s just fantastic — unbelievable — and the musicians he has with him are just ridiculously talented; they’re truly incredible.”

Lastly, we chat with Rudy from Belleville who sums up tonight’s Carl Palmer’s ELP Legacy concert in five simple words:

“The greatest show on earth!”

To learn more about Carl Palmer, please go to carlpalmer.com. For information on upcoming performances at SOPAC — including Dianne Reeves’ Christmas Time is Here concert on December 7, Five for Fighting with String Quartet playing Hits and Holiday Favorites on December 12, and Eaglemania on December 20 — please click on sopacnow.org.