“Thank you very much. Good evening, well, good afternoon,” chuckles Belew remarking upon the fact that King Crimson are undertaking a matinee performance today. Frying Pan finds Mastelotto moving the groove around in the first verse to great effect, enabling Trey Gunn’s monster bass to be heard more clearly as it growls and prowls around the piece. Belew’s solo at the end is a great example of how he coaxes some of the most extraordinary sounds from the fretboard.
The improv is an interesting mix of bristling electronica, the sampled appearance of Jamie Muir, and some surging, fast-paced soloing from Fripp. Dropping into a modified Seizure groove, Belew trails notes on the high end while Fripp digs down deep. It’s not as fluid as some of the improvs from this tour so far but interesting nevertheless to hear the players working through these things.
Adrian’s sounding a little hoarse in One Time but recovers nicely on the coda of LTIA IV and Cage, in which Fripp abandons the electric piano/vibes patch in favour of a tasty, very spacey laser beam-style solo in the extended middle section. A very punchy Oyster Soup, with good soloing from the frontline guitarists finishes off the set.
The improv is an interesting mix of bristling electronica, the sampled appearance of Jamie Muir, and some surging, fast-paced soloing from Fripp. Dropping into a modified Seizure groove, Belew trails notes on the high end while Fripp digs down deep. It’s not as fluid as some of the improvs from this tour so far but interesting nevertheless to hear the players working through these things.
Adrian’s sounding a little hoarse in One Time but recovers nicely on the coda of LTIA IV and Cage, in which Fripp abandons the electric piano/vibes patch in favour of a tasty, very spacey laser beam-style solo in the extended middle section. A very punchy Oyster Soup, with good soloing from the frontline guitarists finishes off the set.
