November 20th, 2006
King Crimson has been on my mind lately for various reasons. I noted over the weekend that Robert Fripp’s contributions to the Windows Vista sound scheme is now known. In addition, that latest issue of one of our local music rags, Rick’s Cafe, has an article by local muso Biff Blumfumgagnge. Biff is a man of many hats, or fezzes in his case, and the piece was about his role as front of house sound man for Fripp’s recent solo tours here in the States.
I thought the show was great and had a blast. As a non-musician, it was neat to be so close and be able to see how the music was made. It was much easier to differentiate Belew and Fripp’s guitar parts, for instance. And I was amazed with Gunn’s agility on the Warr Guitar and Chapman Stick. But I think the greatest revelation for me was Pat Mastelotto. While I’d seen him with Crimson before in 1995, I was about 30 rows back and he was sharing percussion duties with Bill Bruford. As he stated in the interview linked above, Mastelotto’s role in the mid-90s double-trio incarnation of Crimso was mostly to provide the backbeat and keep time which allowed Bruford to let loose on the top of his kit. It was at this concert that Mastelotto really stepped out from Bruford’s shadow for me. I was floored by his performance as he was like a whole percussion section unto himself. But his style wasn’t overly-busy. It was amazing because I’d watch him play and his limbs were flailing like mad, yet his part(s) fit into the song instead of dominating it. He had truly come a long way from his days in Mr. Mister.
The recording here was made from the audience but it’s a good one. A little heavy on the bass but still more than listenable.
Larks Tongue in Aspic, Part I/Level 5
ConstruKction Of Light
Into The Frying Pan
Thela Hun Ginjeet