Posted by Sid Smith on Jul 11, 2018

Here’s a round-up of some recent interviews with various Crims that have appeared recently in the last few weeks.

First up, here's Jakko talking to Goldmine magazine...

GM: How did you come to be involved with Robert Fripp and the current formation of King Crimson?

JJ: Long story, really. I became involved with a band called 21st Century Schizoid Band, which featured ex-Crimson members playing the earlier material that the then-current Crimson never played.

I received a phone call from Robert — whom I’d never spoken to — at the end of the rehearsal period, asking me how it was going. I told him, and he became a kind of private “Crimson Samaritan,” enabling me to get through the twisted politics that still remained decades later. He then played and co-wrote a tune on my solo album (The Bruised Romantic Glee Club) he saw me sing “Islands,” accompanied by Mel, at (ex-Crimson and 21st Century Schizoid Band drummer) Ian Wallace’s memorial. I offered my services as a 5.1 re-mixer, which he took up and then we ended up making an album together with Gavin, Mel, and of course, the great Tony Levin.

Read the whole interview here

Here's a conversation Gavin had with the Hungaria's Hard Rock Magazine that's been put through the mangle so in places it is at variance with standard English as we know it...

It is uncommon for a man to make interviews with his idols. Sometimes they get together, sometimes not. Many times as well, since it only virtually succeeds in getting microphones to the extremely busy and dense musicians. Gavin Harrison , one of today's most fantastic, yet thousands of colors drummer for us and our readers a few minutes to answer our questions posed by e-mail directly to a superbly managed to King Crimson before the bash.
Hard Rock Magazine: First of all I apologize, but I can not miss the usual opening question: what was the tour so far?

Gavin Harrison: This tour has more stations than any of the things we've done. So far, everything is great, we feel good.
HRM: Do you tell us how much different approach you require - apart from the obvious (three drummers) differences - to play in King Crimson like in your other projects?

GH: It takes a different approach to playing a lineup of three drummers. Everything needs to be organized meticulously, so we spend a lot of time trying out the tours. First I spend a couple of weeks at home, figure out my own words, then send the demos to the other two drummers, and so will be a starting point for "drum rehearsals."

HRM: Have you been a King Crimson fan before you joined them? How did you get the opportunity to join?

GH: No. Quite funny, but before joining I was not a fan. It was around the year around that Robert Fripp was open for Porcupine Tree, so we spent a lot of time together and of course saw a lot of our concerts. So he invited me to a 2008 King Crimson tour. I told her I was not really at home with KC albums (perhaps 'Discipline' had bakelite), she responded: "That's great, I like the idea of approaching our songs from a fresh perspective" and that "Everything song is new, regardless of when it was written. “

HRM: Do you tell us about your music roots, how did you become a drummer?

GH: I started playing music at trumpet at age six, my father was a professional trumpeter. But somehow I did not feel the ideal choice, so I quickly jumped over to the drums. I was very co-ordinated as a child, and at that time I went to a dance school. I loved the music and the drum felt the most natural, most powerful instrument I could play. My dad also had a bit to play on the instrument, so he had a lot of things taught him and the drummer's friends too. I started to watch the lessons around the age of ten, learn to read reading.

HRM: You've tried yourself in many genres of music yet, is there any way you would like to experiment with?

GH: I'm not thinking about music along the styles. Only "good" and "bad" music exist. "Music style" is a great excuse for man to ignore a complete oeuvre if necessary.

HRM: At first glance, it seemed that The Pineapple Thieffel was just your 'Your Wilderness' and the next tour. That's a good long tour, a great DVD, and the new album on the doorstep. Did you know at the beginning that this would be a long-term joint work or was it going on the fly?

GH: I did not intend to join them, but after the 'Your Wilderness' tour so fantastic, the sequel was obvious and I am now officially tagged.

HRM: What can we expect from new music and concept conception? Did you participate in creative processes?

GH: I'm a lot better in work than at session-drummer. I've given up life style more or less. For decades I did the session drumming and for the most part it was not satisfactory. In any case, on our new album 'Dissolution' I was actively involved from the very first moment. We wrote a significant part of the album together with Bruce. We had a nice job together, we checked in very well. There has never been a dispute, we are all at a wavelength.

HRM: Let's talk a bit about Porcupine Tree! Would you tell us how and why this story ended? Are you in touch with the members?

GH: Yeah, I'm in touch with them. I often see Stevent as he lives close to me.

HRM: You've given fantastic music for their music, iconic grooves, great songs. After listening to your 'Cheating The Polygraph', I have to ask: Do you miss Porcupine Tree?

GH: I do not miss it. I've found a new band that is just as satisfactory to me as I feel I'm back to music somewhere.

HRM: Your musical style, known in the PT, seems to be living in The Pineapple Thief. What is your future for Bruce Soord?

GH: I hope that the band will continue to develop and grow in the future, while still maintaining a great home for my style and sound.

HRM: Let's go back to King Crimson. How was it that you first played in such a legendary band?

GH: It was ten years ago in August. It was a great, terrible feeling to play with them. Unfortunately, the lineup proved to be short-lived. We had other plans, but they did not work.

HRM: As a renowned versatile drummer, what's moving and motivating you to explore new and new areas with your game?

GH: Generally, I'm just following my nose and trusting you to move to a place where I find interesting things. I do not like to look back - always ahead.

HRM: Does the music write the drum or the drum soundtrack writing music?

GH: Generally, music inspires drums. Sometimes I start with the drums, but then when I hear about what else you find on my basics, I usually always come up with a more thoughtful, more musical solution that works better with the composition.

HRM: Can we expect a new training material in the near future?

GH: No - I have no strength or interest in such things lately. I've just given a few hours to Drumeo, but I do not really have time to teach my psychic trainings.

HRM: If I remember correctly, the last time you played, she was in 2009 with Porcupine Tree 's The Incident. Did you have time to look around? What do you say about Budapest?

GH: Very nice place, I'm sorry I do not have time to explore more. I spent a couple of hours in downtown, but tomorrow we are not here. In most cities this is so when you are on such a dense tour.

Read the original Hungarian version here.

Tony and Gavin are interviewed by the Italian Artists & Bands website

Scroll down for the English version

Tony is interviewed for a German site, Skug...

It’s been challenging, to be sure. Playing with the three drummers didn’t turn out to be the way I imagined it would be… but there’s still plenty of adjusting to do in my parts and in my sound to compliment their parts and to have my own sonic space amid all the low end going on.

Read the interview here