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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?"
More news
Displaying 4135 items (Viewing 551 to 560 of 4135)
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Getting The Xmas They Deserve?
:: Posted by Sid Smith on Sat., Dec 24, 2011
Greg Lake is one of the artists interviewed about what it's like to have had a perennial Xmas hit.
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RF & The OCG Surround Sound You
:: Posted by Sid Smith on Fri., Dec 23, 2011
There's a new release by Robert Fripp and the Orchestra of Craft Guitarists available at Los Gauchos Alemanes website.
It's available in a dual surround sound and stereo DVD format it documents a performance given by the OCG in March 2010.
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Fred Fripp
:: Posted by Sid Smith on Fri., Dec 23, 2011
My thanks to randomelement2 who writes "This is very funny, but I’m posting it for the Crimson reference, towards the bottom."
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No Accounting For Pete's Sake!
:: Posted by Sid Smith on Thu., Dec 22, 2011
My thanks to Natron for bringing to our attention this snippet from Pete Atkin's newsletter. "MEANWHILE –
The struggle goes on with SonyBMG and the very grand
Michael Smith to get them to account to me for sales over the last
twenty years involving the last three RCA albums. There’s been a bit of
progress, but not really very much. It’s a pathetically small amount of
money involved, but I’ll be blowed if I’ll let it go. Jarndyce and
Jarndyce spring to mind,"
Natron comments "When challenged over their business practices a justification that is
often trotted out by company directors & executives is that they
have a legal obligation to "maximise share holder value". They are
rarely challenged on whether their actions actually achieve this aim. "
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12399 Is A Magic Number
:: Posted by Sid Smith on Thu., Dec 22, 2011
Here's some interesting figures on how many plays a band or musician would have to get in order to pull in the minimum wage in the USA. Of course, as many wags and blow-hard desk jockeys will be quick to point out, these musicians should just be doing it for the love of music! Somebody is getting rich from all these streaming services but it isn't the musicians.
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Mister Stormy's Xmas Selection Box
:: Posted by Sid Smith on Mon., Dec 19, 2011
Alex Stormy Mundy has prepared another pick of his Monday Selections for your delectation. If you were unlucky to miss them first time around, now you can own them all in glorious FLAC quality or even MP3 if you'd prefer. Grab it here.
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Robert Fripp Stealth
:: Posted by Sid Smith on Sun., Dec 18, 2011
Catch up with Ben Crowe of Crimson Guitars who takes us through the building of the latest Robert Fripp signature series guitar which Ben dubs the RF Stealth guitar - be sure to watch the 23 minute video in the diary as well!
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