Nashville Rehearsals, 1997 - Reviews
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Date Submitted: 25-Dec-00
By: Michael Adashefski (oingoboingo100 at earthlink dot net)
"This is the kind of cd I've personally been waiting for for a long time, that being a chance to hear just how King Crimson works in the studio. Sure, we all are familiar with how monstrous a beast King Crimson is live but this cd sheds some light into the inner workings of just how some of these ideas get brought to our ears in the first place. This disc also confers my belief that the six-piece had another set of pieces in them before fractalising into smaller units. In some ways this hints at what could have been a great follow-up to Thrak featuring this line up, so for that alone it's a real treat that these sessions have been released.
"Listening to this cd is like being a silent observer in The Court. It's joyous to hear Bill Bruford exclaiming "Who but us would play this!" after executing a rather difficult passage of music and knowing that he's right. This isn't the type of jamming or rehearsing that I would expect a band like,say, Oasis to do (just to name a more commercially based band). This is King Crimson caught writing the type of music we have come to revere and intently listen to for all these many years. Fripp plays some of the most moving lines on this disc, dramatic and inspired. The band was once again heading into unchartered parts of The Court and what could have been refined and completed out of these sessions can now only be left to our collective imaginations.
"Mr. Fripp, please release more of these glimpses into the working methods of King Crimson. This makes for fascinating listening indeed!"
Date Submitted: 29-Dec-00
By: Adam Mizelle (adammizelle at earthlink dot net)
"Hearing this disc put things into perspective. While I am a booster for the double duo and the direction the band is currently taking, the Nashville tapes are the best evidence those nostalgic for the double trio can point to. All the musicians are more than holding their own on this one. Some of the tracks cover familiar ground: 'JB in 7' sounds like 'People'; 'Too many Eeee's' recalls 'Krim 3' from the VROOOM sessions, and 'Jimmy Bond' gets more mileage of material on 'Dinosaur' and 'Sex, Sleep, Eat, Drink, Dream'. In other places we hear material that became the various 'ConstruKction' pieces of 1998-2000 ('Presidents', 'Ragin' Drone', and my favorite workout on that theme anywhere, 'Split Hands'). 'Circulation' became the intro to 'The ConstruKction of Light'. In a similar vein is 'Off Sets' which sounds like the League of Crafty Guitarists playing 'Fracture' while plugged in and at one quarter the speed. Delicious. We're also treated to a snippet of 'Seizure' that still pales compared to P4's interpretation. Tony Levin brings a keyboard to the fray for the first time since 'Three of a Perfect Pair', with excellent results throughout. An even bigger surprise is the continued brilliance of the Bruford/Mastelloto team on two drums-only cuts, 'Mulundrum' and 'KCF', as well as their takes with Tony ('Big Funk') and Trey ('Trey, Pat, and Bill'). Great fodder for those who like to play the 'my Ultimate ProjeKct Lineup would be....' game. The most intriguing parts of this release, however, are the ideas brought by the drummers that the other members added their own parts to ('Pat's Meckanical Fives' and 'Have U Got?'). Here, the Krim gives us a glimpse into a new polyrhythmic style derivative of little else in their history. There are similar impressions of 'Sad Woman Jam'. Together, these three tracks also give us insight into what a Fripp-less Krim would sound like, and I like what I hear. Finally, 'Snugel' deserves special mention as an early appearance of ProjeKct 3. This one sounds like 'Space Groove I' with a very large set of balls. Listen and be amazed."