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| P2 At Albany Again |
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| :: Posted by Sid Smith on Mon., Feb 20, 2012 |
My thanks to J Eric Smith for sending in this marvelous review of P2 playing Albany. You can hear the gig that Eric is writing about here.
Eric writes "I was a music critic (for better or worse) in Albany, New York for many years. My wife and I recently relocated to Des Moines, Iowa, and as part of launching a web presence in my new home community, I have been reviewing old archives of my work for items that might lend themselves to new purposes. I found a ProjeKCt Two live review (copied below) while digging through old floppy discs and files, and thought I would share it here, since I have not seen many other formal newsprint reviews from that era posted here. It was a lovely show, one that I still cite as one of my all-time favorite live performances.
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ProjeKct Two
Valentine’s Music Hall, Albany, New York, May 8, 1998
Copyright 1998, J. Eric Smith (Originally appeared in Metroland, The Alternative Newsweekly of Northeastern New York)
"OK, now we’ve played everything we don’t know,so we can play something that we actually do know," announced electronic drummer Adrian Belew at the end of ProjeKct Two’s second all-instrumental, all-improvised set. Belew, 10-string Warr guitarist Trey Gunn and electric six-string guitarist Robert Fripp then encored with King Crimson’s "Vrooom," an angular number originally created by Fripp, Belew, Gunn and their Crimson bandmates Tony Levin, Bill Bruford and Pat Mastelotto.
As nice as it was to hear "Vrooom," the true value of the encore was to place the evening’s improvisational extravaganza in context by providing a single sample of how ProjeKct Two sounded when tackling a fully developed and structured instrumental piece. Frankly speaking, the encore paled in comparison to the 90 minutes of music preceding it, as its rehearsed complexities and nuances were nowhere near as impressive as the knotty, towering sound collages that ProjeKct Two created on the fly as the rapt audience watched and listened.
Fripp, Belew and Gunn were watching and listening to each other as well, and much of the thrill of this concert came from witnessing the interactions between these deeply talented musicians who have played together long enough to anticipate each other’s thoughts, sometimes before they eve realize that they’ve had them. Belew or Fripp typically opened each number with a drum or guitar pattern that the other musicians would would investigate, mount and ride, sometimes to loud and uplifting summits, sometimes to quiet, scary grottoes, sometimes back to the point at which they started. It was actually harrowing to experience in many cases, as the trio careened just on this side of control as they rode, the looks on their faces indicating that it was just as thrilling (and frightening) for them as it was their audience.
As important as technical prowess was to the concert’s success, mention must also be made of ProjeKct Two’s technological proficiancy. Belew was playing the latest generation of Roland virtual drums, allowing him to create a seemingly infinite number of sonic assaults as he clattered and rattled along with a look-Ma-I’ve-got drums grin on his face. (Understandable, given that he’s normally a guitarist.) Gunn matched Belew’s rhythmic and textural intensity as he tapped, stroked and and beat the touchboard of his Warr guitar.
Fripp spun out any number of his trademark spine-tingling sustained guitar lines but also used the treatment technology he has developed over the years via his Soundscape and Frippertronic performance experiments to create a wealth of tones and intonations. At times, the bands’ sounds were so far skewed from what your eyes were reporting to your brain that it was almost psychologically easier to look at the floor and imagine that Fripp was playing cluster chords on some beaten-up jazz-hall piano while Gunn blew on a baritone sax and Belew kept time by tapping on whisky bottles and ashtrays. Crazy, man, crazy.
All told, ProjeKct Two’s concert was a magnificent one, and I must confess to feeling great relief in being able to report that. Why? Because Robert Fripp’s written and recorded works have done more to shape both how I listen to and how I think about music than have any other artist’s over the last two decades, although I never actually stood in the same space with Fripp until last Friday. So imagine the potential for debilitating disappointment at this show, and then imagine the transcendent relief and joy when it didn’t come to pass. It literally moved me to tears. And how often can a wordless concert do that?"
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Read About Reid
:: Posted by Sid Smith on Wed., May 9, 2012
Vernon Reid talks about a new Living Colour album and his collaboration with Jack Bruce, John Medeski and Cindy Blackman Santana and their collective tribute to the great Tony Williams.
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The Wine Of Silence Charts
:: Posted by Sid Smith on Tue., May 8, 2012
The Wine Of Silence has entered the UK’s classical music charts at number 31. Interestingly (in an anorak train-spotting kind of way) the chart contains a couple of tenuous Crim-connections if you can spot them.
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KC 1974 Live In Europe For Download
:: Posted by Sid Smith on Mon., May 7, 2012
Three concerts previously released as part of the KCCC are now also available as downloads. They are Heidelberg, Mainz and Kassel.
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The Wine Of Silence Concert In Amsterdam
:: Posted by Sid Smith on Mon., May 7, 2012
For those who have an interest there are some photographs from the rehearsals of The Wine Of Silence concert held in Amsterdam last night over on the blog.
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Fripp The Ripper
:: Posted by Sid Smith on Fri., May 4, 2012
Greg Lake has been talking to Mike Ragogna at the Huffington Post about the time when Fripp gave him the fright of his life. Check out the GL interview after the Jon Anderson piece.
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Portnoy To Cover Starless
:: Posted by Sid Smith on Thu., May 3, 2012
A version of King Crimson's Starless will appear on Cover 2 Cover - an album of tributes by Neal Morse (Spock’s Beard), Mike Portnoy (Adrenaline Mob, Dream Theater) and Randy George. Find out more about it here.
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KCCC
:: Posted by David Singleton on Wed., May 2, 2012
Following the various comments on the guestbook, I can confirm that the Collectors Club will draw to an exciting, honourable close at Club50. Club 46 The Marquee 1972, (one of the best sounding shows of the RF/Boz/Ian/Mel line-up) will be the last audio-only release. The last four Collectors Club releases will be DVDs (possibly with accompanying CDs), of which the first of which, Club47, will be a DVDA with footage of two shows in Buenos Aires in 1994.
So the reluctant completists are nearly there.
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