21st September
The final show of their four-night New York residency begins with the Bill Reiflin-directed Hoo Doo, a short improvised piece wherein the man in the middle would essentially conduct the elements of Crimson who would bring in notes of their choosing. Elsewhere, Bill’s contributions are even subtler. Initially driving Sailor’s Tale along with jazz-inflected cymbal work and propulsive accents, in the guitar section he switches to Mellotron taking great care to fade in the icy chords whose stillness contrasts with the turbulent swirl of the guitar solo. In the aftermath of the piece, as the audience applause sweeps in, Bill can be heard gently fading out the growling low-end Mellotron, taking time and in doing so, allowing the piece to be reclaimed by the silence from whence it came. Reiflin once remarked, “Intensity can manifest in a variety of different ways. It doesn’t have to be loud. It doesn’t have to be abrasive. It can be quiet and very quiet and still gripping.”
The final show of their four-night New York residency begins with the Bill Reiflin-directed Hoo Doo, a short improvised piece wherein the man in the middle would essentially conduct the elements of Crimson who would bring in notes of their choosing. Elsewhere, Bill’s contributions are even subtler. Initially driving Sailor’s Tale along with jazz-inflected cymbal work and propulsive accents, in the guitar section he switches to Mellotron taking great care to fade in the icy chords whose stillness contrasts with the turbulent swirl of the guitar solo. In the aftermath of the piece, as the audience applause sweeps in, Bill can be heard gently fading out the growling low-end Mellotron, taking time and in doing so, allowing the piece to be reclaimed by the silence from whence it came. Reiflin once remarked, “Intensity can manifest in a variety of different ways. It doesn’t have to be loud. It doesn’t have to be abrasive. It can be quiet and very quiet and still gripping.”
