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Úvodní stránka » ARCHIVE » King Crimson (Vol. 8)
King Crimson
The Collectors' King Crimson Volume Eight

King Crimson — The Collectors' King Crimson Volume Eight

 King Crimson — The Collectors' King Crimson Volume Eight
♦   Spurred on by Robert Fripp's innovative guitar work, arguably the definitive exponents of British progressive rock.
Formed: in London in 1968
Location: United Kingdom
Album release: 2004
Record Label: Discipline Global Mobile
Duration:
Tracks:
Tracklist CD1 — ProjeKct One — Jazz Cafe Suite 1997:
01. Suite One      29:02
02. Suite Two      15:13
03. Suite Three      6:25
Tracklist CD2 — Live In Orlando, FL 1972 — Part 1:
01. Pictures Of A City      10:12
02. Formentera Lady      8:24
03. The Sailors Tale      6:57
04. Cirkus      9:20
05. Ladies Of The Road      6:07
Tracklist CD3 — Live In Orlando, FL 1972 — Part 2:
01. Groon      16:09
02. 21st Century Schizoid Man      11:05
03. Earthbound      6:31
04. Cadence And Cascade      4:24
Tracklist CD4 — Live In Guildford 1972:
01. Larks' Tongues In Aspic (Part I)      8:58
02. Book Of Saturday (Daily Games)      4:23
03. Improv      5:38
04. Exiles      3:40                                            © Photo credit: Ron Gott
REVIEW
By Lindsay Planer, AMG
♦   This imported box set is available for those outside North America and the EEU who wish to partake of classic King Crimson from the vaults of the venerable Crimson King himself, guitarist Robert Fripp. This volume includes material from the 22nd, 23rd, and 24th Discipline Global Mobile Collectors' Club releases — respectively consisting of two distinctly different incarnations from 1972 and a composite of 1997 improvisations from the ProjeKct One fraKctilization of the larger early– to mid–'90s six–man lineup. Taken in order of their release, ProjeKct One's four–day–long lifespan — December 1 to December 4, 1997 — at London's Jazz Cafe is up first. The quartet featured Bill Bruford (drums, percussion, mixing), Fripp (guitar), Trey Gunn (Warr guitar), and Tony Levin (bass, Chapman Stick, synthesizer) and was the first confab to have splintered off once the larger unit disbanded. It is also marked by Bruford's concluding role as a King Crimson associate. The three "Suites" extracted from the four evenings' worth of performances vary less in their free–for–all structure and execution, relying more upon each individual's efforts than a singular group mindset — not that there is anything wrong or even undesirable in that scenario. In fact, those who enjoy hearing the band during its further–out sonic excursions shouldn't pass up at least a cursory spin of these suites. It is worthwhile noting that these are edited and reconfigured from four separate shows and aren't presented the way the gigs actually went down. Of the trio, "Suite Two" stands out as an exemplary sampling of the delicate balance between Levin and Bruford's limber rhythm–section work as it goes head to head with Fripp's off–the–chain fretwork, creating a vibrant fusion akin to Miles Davis' electric late–'60s era. Live in Orlando, FL 1972 is the most complete, with Fripp (guitar, Mellotron) joined by Boz Burrell (bass, lead vocals), Mel Collins (sax, flute, Mellotron), and Ian Wallace (drums, vocals). The concert is among those excerpted on King Crimson's first live long–player, 1972's Earthbound, and although the sound is far from audiophile grade, the inspired "The Sailor's Tale" as well as the instrumental wails of "Groon" and "Earthbound" truly capture the combo in its prime. Of equal note is the comparatively languid "Cadence and Cascade" and the demented carnival atmosphere on "Cirkus" — especially Burrell's distorted and downright scary vocals. The final installment of the Collectors' Club on Collector's King Crimson, Vol. 8 is from later the same year as King Crimson broke up and were reconfigured with Fripp (guitar, Mellotron), Bruford (drums), David Cross (violin, flute, Mellotron), Jamie Muir (percussion, allsorts), and John Wetton (bass, vocals) on November 13 at Civic Hall in Guildford, Surrey, England. They had been together for only a few months and their youthfulness is expressed in an ability to take on new challenges, essentially liberating themselves from all former manifestations of the Mighty Crim. The repertoire points the way to Larks' Tongues in Aspic with the blazing "Larks' Tongues in Aspic, Pt. 1" that is dynamically juxtaposed with an early but sublime "Book of Saturday" — known then as "Daily Games" when Fripp mentions it from the stage. The nearly half–hour "Improv: All That Glitters Is Not Nail Polish" must be heard to be believed — making Live in Guildford, 1972 worth the price of admission in and of itself.                © Photo credit: Peter Hodgson. Felt Forum New York, NY

CD1
Recording date: December 1, 1997 — December 4, 1997
Release date: April 25, 2003
Review by Lindsay Planer; Score: ****
♦   The 22nd installment of the King Crimson Collectors' Club series of archival performances contains some of the music that ProjeKct One unleashed during their criminally brief existence from December 1 to December 4, 1997 at the Jazz Café in London. The quartet featured on this release includes Bill Bruford (drums/percussion/mixing), Robert Fripp (guitar), Trey Gunn (Warr guitar) and Tony Levin (bass/Chapman Stick/synthesizer). They became the first sub–division [read: ProjeKct] of the mid–'90s double–trio incarnation of King Crimson. Its passing also marked the departure of Bruford from the greater King Crimson orbit. Musically, these completely improvised instrumentals seem to reflect the individual personalities of each band member rather than forming a cohesive statement from the ensemble. ♦   This is not meant as a debasing comment, but rather an observation of the lack of complete musical unification. The three suites included on this disc are, in essence, a pastiche of sounds from all four nights; rather than an unedited account of the proceedings. Although that enters the realm of revisionist history, it likewise allows for more cohesive listening away from the context of the 'real time' experience. This style of compilation recalls a similar technique incorporated into the improv–heavy Thrakattak (1996) — which was culled from the mid–'90s reformation of King Crimson, and includes contributions from Crimson mates Adrian Belew (guitar) and Pat Mastelotto (percussion). "Suite One" is the longest of the three and begins with Fripp's layers of soundscapes over which Gunn and Levin slowly reveal themselves. Bruford's entrance offers a substantial focus with some potent counterplay from Levin. This four–way exchange is both inspired as well as maddeningly schizophrenic. There are several distinct moments of utter joy and unfettered musical brilliance that instantly recall the majesty of the mid–'70s King Crimson improvisations. Sadly, those threads are short–lived. "Suite Two" is immediately dominated by the rhythm section. The delicate low vibrations from Levin resonate profoundly with Bruford's cymbalistic sputtering. Fripp's trumpet–like leads recall the late–'60s and early–'70s jazz /rock fusion of Miles Davis. Again, there are hints at greatness and some inspired passages — especially in the contrasts between Fripp's languid, chiming drones and tones when juxtaposed with Bruford's impulsive bombasts. "Suite Three" offers a sampling of this quartet's variety of textures, ranging from the heavy thump backbeat, courtesy of Levin, to some gritty guitar leads from Fripp. While the opening groon [read: a term coined by Fripp to describe something in between a 'groove' and a 'groan'] brings to mind a neo– or post–modern Sun Ra, the pulsating backbeat propels the suite into a funkier and less sporadic musical space. It is unfortunate that this combo deteriorated so quickly as they truly never had an opportunity to organically develop a unique musical language between themselves. That said, King Crimson enthusiasts whose leanings include the unpredictability of free–form improvisation should not pass up this volume for both its significant historical value as well as its adept performances.
CD2
♦   Recorded February 27, 1972 at Kemp Coliseum, Orlando, FL.
Tracks:
1.01 Pictures Of A City     10:12
♦   Written by — Sinfield*, Fripp*
1.02 Formentera Lady     8:24
♦   Written by — Sinfield*, Fripp*
1.03 The Sailors Tale     6:57
♦   Written by — Fripp*
1.04 Cirkus     9:20
♦   Written by — Sinfield*, Fripp*
1.05 Ladies Of The Road     6:07
♦   Written by — Sinfield*, Fripp*
2.01 Groon     16:09
♦   Written by — Fripp*
2.02 21st Century Schizoid Man     11:05
♦   Written by — Lake*, McDonald*, Sinfield*, Fripp*
2.03 Earthbound     6:31
♦   Written by — Burrell*, Wallace*, Collins*, Fripp*
2.04 Cadence And Cascade     4:24
♦   Written by — McDonald*, Sinfield*
Credits:
♦   Artwork: [Design] — Hugh O'Donnell
♦   Bass, Lead Vocals — Boz Burrell
♦   Drums, Vocals — Ian Wallace
♦   Engineer [Recording Engineer] — Hunter MacDonald
♦   Flute, Saxophone [Saxes], Mellotron — Mel Collins
♦   Guitar, Mellotron — Robert Fripp
♦   Photography — Robert Ellis
♦   Producer — David Singleton
♦   Producer, Edited by [Digital Editing] — Alex R Mundy*
Release date: June, 2001
Duration:     61:14
Written by: Adrian Belew / Robert Fripp / T. Gunn
Review by Lindsay Planer; Score: ****
♦   Various subdivisions [read: ProjeKcts] within the mid–'90s double–trio incarnation of King Crimson became the next functioning reality of the band following the dissolution of the larger unit in the spring of 1997. This 17th installment in the King Crimson Collector's Club features ProjeKct Two — consisting of: Robert Fripp (guitar), Adrian Belew (V–drums), and Trey Gunn (touch guitar/talker) — live in Northampton, MA, at the Pearl Street club on July 1, 1998. This instrumental trio is fuelled by some of the most chilling soundscape techniques and patterns Fripp has incorporated into any of his band recordings. The various "Vector Shift"s act as bridges as well as textural indicators of things to come. With Belew relegated to a decidedly more percussive role in this particular ProjeKct, Fripp's unmistakably pungent solo guitar lines weave hypnotically throughout the intricately funky double– and triple–time signatures of "X–chayn–jiZ." Belew's use of the electronic or "virtual" drums is often more akin to the Synclavier compositions and performances of Frank Zappa than an over–clocked Casio keyboard. Using a pastiche of sound effects and sampled percussive beats, Belew's unrelenting electro–rhythms propel Fripp and Gunn into startling sonic topography during both the preamble, "Light ConstruKction," and the denser and more viscous "Heavy ConstruKction." Another key performance from this release is "The Deception of the Thrush." These pieces would continue to coalesce in performance and would eventually inform the direction and spirit of King Crimson in 2000 when they re–formed as a quartet — adding percussionist Pat Mastelotto. True to the nature of the Discipline Global Mobile Collector's Club, Live in Northampton, MA provides a unique glimpse of the perpetual evolution of King Crimson. This entry should be of particular note to enthusiasts eager to hear "working versions" of materials circa the ConstruKction of Light, as well as the subsequent Level Five EP and tour.


Tracklist CD3 — Live In Orlando, FL 1972 — Part 2:
Recording date: February 27, 1972 (Kemp Coliseum)
Release date: October, 2004
Written by:
♦   Robert Fripp / Trey Gunn / Tony Levin / Pat Mastelotto     4, 11
♦   Adrian Belew / Robert Fripp / Trey Gunn     5, 8
♦   Robert Fripp     6
♦   Adrian Belew / King Crimson / Robert Fripp / Trey Gunn     12
CD4
♦   Recorded November 13, 1972 at The Civic Hall, Guildford, Surrey, England.
Tracks:
1 Larks' Tongues In Aspic (Part I)     8:58
♦   Written by — Bruford / Cross / Muir / Wetton / Fripp
♦   Written by — Bruford*, Cross*, Muir*, Wetton*
2 Book Of Saturday (Daily Games)     4:23
♦   Written by — Wetton / Palmer–James / Fripp
♦   Written by — Wetton*, Palmer–James*
3 Improv: All That Glitters Is Not Nail Polish     25:38
♦   Written by — Bruford / Cross / Muir / Wetton / Fripp
♦   Written by — Bruford*, Cross*, Muir*, Wetton*
4 Exiles     3:40
♦   Written by — Cross / Palmer–James / Fripp
♦   Written by — Cross*, Palmer–James*
Credits:
♦   Artwork by [Design] — Hugh O'Donnell
♦   Bass [Guitar], Vocals — John Wetton
♦   Drums — Bill Bruford
♦   Guitar, Mellotron — Robert Fripp
♦   Percussion, Other [Allsorts] — Jamie Muir
♦   Photography — Robert Ellis
♦   Producer — David Singleton
♦   Producer, Edited by [Digital Editing] — Alex R Mundy*
♦   Violin, Flute, Mellotron — David Cross
♦   Written by — Fripp*
Website: http://www.dgmlive.com/
Facebook: https://www.facebook.com/pages/King-Crimson/14038332518
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King Crimson
The Collectors' King Crimson Volume Eight

 

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