There’s something very special about Tony Levin’s use of upright bass in Crimson generally but in The Letters, it shares a dark space with Collins’ baritone sax that's richly satisfying. The stark transition from the turbulence of the improvised section to the pin-drop silence of the final verse remains one of the most impressive points in the setlist.
There’s something very special about Tony Levin’s use of upright bass in Crimson generally but in The Letters, it shares a dark space with Collins’ baritone sax that's richly satisfying. The stark transition from the turbulence of the improvised section to the pin-drop silence of the final verse remains one of the most impressive points in the setl...
