Jordan Rudess became a member of Dream Theater in 1999 after making two albums with Liquid Tension Experiment alongside John Petrucci and Mike Portnoy. DT’s ruthless decision to make space for Rudess by firing Derek Sherinian was vindicated when the new keyboardist made a dazzling impact on fifth album Metropolis Pt.2: Scenes From A Memory. In his Prog interview of 2019, he looked back on how taking the role changed his life.
When did Dream Theater start to appear on your radar?
Around the time they had Kevin Moore on keyboards with Awake [1994]. I thought: “Wow, they have the virtuoso thing going on. They play prog but they also have a feel for metal, and everything is so clean.” The fusion of those elements was so cool.
But you declined a first overture to join the band that same year, preferring instead to accept a part-time role with Dixie Dregs.
Yeah. Not long afterwards Dream Theater called and offered an audition, which I did. I played one show with them at an event called the Foundations Forum, but at the same time I was also approached to do something with the Dregs. While I made up my mind I did a tour with the Dregs. At that time my wife and I had a small child and being with them just seemed better suited to my life.
I had said ‘no’ to Dream Theater but I welcomed the call inviting me to play with John and Mike; it had felt like my only opportunity to do so. That was exciting. Tony Levin is a brilliant musician who came from another world to those guys, so I was the “in between guy.” Thinking about it now, that’s almost my role in Dream Theater – to keep things balanced.
Sherinian was nicknamed “the Caligula of the keyboards” by Alice Cooper. How did you bring your own personality to the role?
The fact that we got along together so well was a very good start, but when I came into the group there were parameters to sort out. What stylistic elements from my world would be allowed into theirs? I had to learn and adjust to that. What I had to offer was my interest in orchestration. That changed the whole sonic picture.
I was never about playing one sound. At the start, that to them was like, “Ew!” Sure, they were excited about my compositional ideas and my playing – John Petrucci really needed a partner to inspire and keep up with him – but at first my desire to push those buttons made them a little nervous.
You joined immediately prior to the recording of Metropolis Pt.2. Do you agree with those fans who rate it among Dream Theater’s career peaks?
Yeah, and of course that was such an exciting time. When I agreed to join them I had no idea of the life change it would bring. I had never travelled the world. They had a lifestyle that I had only seen from a distance. Suddenly the doors were blasted open.
How long did it take to feel like you had complete acceptance?
Because of the experience with Liquid Tension it happened pretty much right away. They made me a full-time member and we went straight to work.
You’ve stated that Dream Theater fuse metal and prog, but it’s done almost like some kind of seesaw, managing to balance the two elements.
The other guys in the band are very influenced by Iron Maiden and Metallica, plus various prog things such as Yes and Queensrÿche. But I come from a different place. For me, first and foremost it’s classical music, followed by Emerson, Lake & Palmer, King Crimson, Gentle Giant and Pink Floyd. That’s where my heart lies.
