Blimey the boys are hot in New Haven. [endtease] On tour with John Paul Jones’ band, Crimson they’re cooking up a potent stew that bubbles and boils throughout.
As ever Belew really excels. His vocals on Thela sound like he’s really revved up. Not just his vocals either. You can hear him shout “Take it boys!” when a string snaps and a swift change-over of guitars is required. For a few seconds the members of ProjeKct Three step into the breach and carry the day. Though no strings may have been snapped during its performance, one of the most arresting tracks of the gig comes from The Power To Believe II or Virtuous Circle as it was called at that point. As gorgeous as all the layers of guitars might be, the ghostly appearance of Jamie Muir thanks to judicious sampling by Pat Mastelotto, sends a shiver down the spine of this Crimhead. In fact Mastelotto shines throughout, adding extra musical allsorts in a way that perhaps makes him a Muir for the new millennium?

AUDIO SOURCE: Soundboard



Introductory Soundscape
Dangerous Curves
Into The Frying Pan
The ConstruKction Of Light
Thela Hun Ginjeet
The Power To Believe II
Larks Tongues In Aspic Pt IV
The Deception Of The Thrush
Level 5

KC20011209NewHaven - Rob Farrish

Written by Judd Ayer
What a night!
I was at this show and it has always stuck in my mind. There was something about it that separated it from other Crimso shows. Belew’s voice was a bit scratchy, so he asked his mates to help him out. They did this and more. The musical boundary in each song was opened for experimentation. Some patrons were upset by this. I remember one who, while walking past me on his way out complained about being ripped off. Idiot! The part that absolutely blew my mind was Capt. Fripp’s solo in The Power to Believe. It is both elegant and powerful. It inspired me for the 15 years between experiencing it and hearing it again through the download. The download sounds awesome. It brought me back to the moment when the gents returned to play Red. Standing there with a joint in one hand and a beer in the other, I too, yelled at the top of my lungs in appreciation. Cheers-Judd Ayer
Written by Rob Gennarini
MagiKc in New Haven
I was a member of the audience at this mind bending gig in New Haven, one of the four that I witnessed on this leg of the Double Duo (the others were the Orpheum in Boston, Tower Thtr in Upper Darby PA and the Listener Aud in WDC - a rare disjointed and poor performance to my ears). While the above mentioned gigs were very good, other than noted, this show in New Haven was MagiKc! The crowd in New Haven was fairly small relative to the other shows, but the powerful performance the band put on was remarkable, memorable, may I dare say devastating! Many of the faces surrounding me were literally stunned, unbelieving of what they were witness to this night. Especially outstanding in this performance is the powerfull version of "Red" and a frenetic version of "Thela Hun Ginjeet", and "LTIA4". It is difficult to convey the magiKc and strength of this performance through the high quality sound of a board recording, being a memeber of the audience, it sounded quite different than this. There was a certain air or energy about the Palace Theatre that made KC sound other wordly, particularly their performance from several years ealier on Nov 18, 1995 - probably the greatest performance I had even seen by KC as the Double Trio or otherwise (please note that I too young to have seen them in the 70’s or 80’s). This is also true of other bands I had seen at the Palace Theatre as well, including Pat Metheny Group, Laurie Anderson, Tangerine Dream, Todd Rundgren, Jethro Tull and countless others through the 80’s, 90’s and 00’s. Sadly the Palace Theatre stands empty now, a testimony to how even Yale University can not sustain everything in its "safe harbor of light" that is surrounded by the deteriorating darkness of old New Haven. Any chance we will get to see the Nov 18, 1995 show from the Palace offered as a DGM Live download, or throught the KC Collector’s Club? What about the fabulous John Paul Jones band who opened for KC on this evening in Dec 9, 2001? That would be a treat as well! Thank you DGM, for understanding the wants and desires of your fan base. It is a pleasure to see and hear the results of your efforts to keep your fans happy and turning out quality products even when the band is in hibernation. This download is well worth it, and for fans who witnessed it, it is a treaured reminder of that event. Thank You! Rob    
Written by Timothy Ohara
This performance, and the Level Five tour in general, was characterized by its relentless bleakness. I was at the show in Boston the night before and this fine recording reinforces my memories of that event. This was difficult music, and even  a piece like Construction of Light which in 2000 and 2003 was almost sprightly, had a decidedly darker cast to my ear. I had seen the warm-up show for the Tool tour in Boulder earlier in the year (which was tremendous, and hopefully a candidate for future download), and somehowKC by the end of 2001 was a different beast. It has occurred to me that my reaction to the music, and my recollections of it, are/were in part colored by the mood of U.S. society in late 2001. Certainly the images of gas-masked soldiers which accompanied the tour had a powerful resonance at the time. I felt then, and now, that King Crimson music at the end of 2001 was reflecting something deep and dark in the zeitgeist. But in Virtuous Circle, and in Trey Gunn’s magnificent Thrush solos, there was a glimmer of something resembling hope. Very powerful stuff, highly recommended...though the edge will go to Kingston 2003 from this reviewer. Keep it up folks!
Written by William Roland
I was there too!
This was an amazing performance. Others who have submitted reviews and were there describe the show accurately. I am so pleased that we now have a permanent record of this show. I do wish that the 1995 and 2003 New Haven shows would be made available, as they were also awesomely inspired performances. As for this show, KC once again defied audience expectations as they re-defined our ideas about the performers and the material. Moments of sublime illumination reveal artistry of the highest order at work.