Jakko Jakszyk has been interviewed and talks about Crimson as well as some of his remixing work for the likes of ELP, Tull etc
Here’s a couple of reviews that have popped up in recent days. First up we have this eyewitness account of the band at The Egg...
and more recently, Port Chester…
Live In Chicago is exciting the earholes of folks who get near it. First up in Relix…
And how about them Krimsen's?
Then there’s this one originally in French…
Click here to read original text
But sent through the mangle comes out like this…
Why write a chronicle of a KING CRIMSON live album in 2017? Because this one has a particular flavor since Robert FRIPP and Tony LEVIN consider it nothing less than the best record in public realized by the current formation, the musicians playing together for several years now. In the preamble know also that I am one of the people who greatly appreciated the departure of Adrian BELEW and his replacement by Jakko JAKSZYK ...
So what can we find on this record and in the order of the program please? After a "Larks Tongue in Aspic part one" telluric and devastating, whose underlying violence of his premise half is amplified by the presence of three drummers who give a new breath to this kind of room that we believed to know by heart, "Neurotica" from "Beat" strongly saxized by Mel COLLINS as will be "The Errors" which I have not found trace in a previous studio album (but I'm not necessarily a historian of the Purple King), a "The Errors "very pleasant indeed.
The great novelty appears afterwards with no less than twenty-five minutes never played in public for forty years: "Cirkus" (beautiful timeless piece), "The Lizard Suite" both shot "Lizard" of course, a version some little shortened anyway because totaling thirteen minutes instead of the twenty-three of the original version (Mel COLLINS still him and Bill RIEFLIN compete there talent) then "Fallen Angel" from "Red" and frankly hat because we tu tutoyons during this time lapse of the timeless progressive rock, knowing that KING CRIMSON was one of the forerunners to see the founder if one wants to, without strictly speaking to the general appreciation. After a "Larks Tongues in Aspic part two" he also barred and highlighting once again COLLINS and the trio of drummers, we find a curiosity "Islands" the title track of the album of the same name, too, rarely played live, a sweetness and a remarkable beauty, delicately vocalized by Jakko JAKSZYK, Robert really spoils us on this master stroke and we finish the first half with "Pictures of a City" from the antediluvian second album "In the Wake of Poseidon" from 1970, well muscled too; Needless to say that the second CD will be a little less interesting in the choice of plays played because less rare in public. a sweetness and a remarkable beauty, delicately vocalized by Jakko JAKSZYK, Robert really spoils us on this master shot and we finish the first half with "Pictures of a City" from the antediluvian second album "In the Wake of Poseidon "from 1970, well muscled too; Needless to say that the second CD will be a little less interesting in the choice of plays played because less rare in public. a sweetness and a remarkable beauty, delicately vocalized by Jakko JAKSZYK, Robert really spoils us on this master shot and we finish the first half with "Pictures of a City" from the antediluvian second album "In the Wake of Poseidon "from 1970, well muscled too; Needless to say that the second CD will be a little less interesting in the choice of plays played because less rare in public.
From this second CD, we will remember "The ConstruKction of Light" title track of the album of the same name in the year 2000, exotic without being essential, a big "Easy Money" lengthened with the sauce Frippienne and collinssienne, sung so different from previous versions of the late John WETTON, a brilliant and little played on stage before "The Letters" from "Islands" (strongly saxized too) and the final tripych with the timeless and timeless "Starless" (lovers of Mellotron will never get bored), a surprising cover of "Heroes" but not that much because Robert FRIPP has always been an admirer of David BOWIE and to close this concert all in wild beauty the historic "21 st Century Schizoid Man "that we do not have to present anymore.
Listening to this double album, it is understandable that Robert FRIPP and Tony LEVIN can consider it as their best performance stage since moons, the palm of stardom returning as you have understood Mel COLLINS. Not really a fan of live works, I can assure you that this one is worth the detour.
My good Robert, next time, you add "Cadence and Cascade" and "Formentera Lady" and the entire progressive planet will be at your knees ... in fact we are already there.
