Supper Club New York United States
There’s an uneven surging energy to this performance though not everything works as intended. Gear failure requires a TCOL reboot and Fripp encounters some finger flubs in the metal lines of FraKctured. “You enjoy it when we suffer for our art, don’t you” quips Belew at the end of the piece.
Frank C was in the audience on their first night and via ET reckoned “The Supper Club show was really tremendous, warts and all. Some sound problems in TCOL, and some blunders on (no joking) Fripp's impossible guitar part in the middle of FraCktured (the part that sounds like the apocalypse). But hey, 99.9% of the guitar players reading this could never play it anyway.”
The improvs tonight are short but muscular with Gunn issuing some fiery lines in the first section. As with the previous gig there’s a sense of something be thrown around in the moment to see what flies and what doesn’t. The dead stop they all come to at around 1.56 is a jaw-dropper and the subsequent vectoring has a thinking-out-loud vibe to it, as the team consider their next move. How do they get themselves out of the dead end they’ve driven into? Switching to earth-shaking frequencies, Gunn’s bass lines dig deep, scooping and swooping underneath the Mastelotto’s frantic turbo-charged clattering. Across the subsequent monster grooving the rhythm buddies establish Fripp and Belew trade a series lines that spoil for a fight and maul at the air.
Frank C was in the audience on their first night and via ET reckoned “The Supper Club show was really tremendous, warts and all. Some sound problems in TCOL, and some blunders on (no joking) Fripp's impossible guitar part in the middle of FraCktured (the part that sounds like the apocalypse). But hey, 99.9% of the guitar players reading this could never play it anyway.”
The improvs tonight are short but muscular with Gunn issuing some fiery lines in the first section. As with the previous gig there’s a sense of something be thrown around in the moment to see what flies and what doesn’t. The dead stop they all come to at around 1.56 is a jaw-dropper and the subsequent vectoring has a thinking-out-loud vibe to it, as the team consider their next move. How do they get themselves out of the dead end they’ve driven into? Switching to earth-shaking frequencies, Gunn’s bass lines dig deep, scooping and swooping underneath the Mastelotto’s frantic turbo-charged clattering. Across the subsequent monster grooving the rhythm buddies establish Fripp and Belew trade a series lines that spoil for a fight and maul at the air.
