A sneak preview of the 2016 incarnation of King Crimson, playing…”Easy Money“.
Wait, what? King Crimson doesn’t usually repeat itself.
But the way I’m understanding it, this new Crim is indeed “reimagining” some of the older tunes. That seems to be at least part of the point. Okay, does that somehow mean that Robert’s gone soft all of a sudden?
I suppose we’ll see, but somehow, I doubt it. In my book at least, he’s earned a lot of trust in that regard. And who knows, maybe it’s me that’s gone soft, because at least on first listen, I enjoyed this a great deal:
Cry fanboy if you must–guilty as charged–but there is a lot in here to like. Based on this performance alone, I’m not entirely convinced on Jakko as frontman, but he does seem both reasonably precise and endearingly earnest, and I look forward to seeing more before making a real judgment. In a similar vein, given the use of the word “reimagining” to describe this edition of KC, I was a little surprised at how canonical and straight-up this edition of “Easy Money” seemed to be. Again, I don’t know how indicative it may be, and I ain’t castin’ a judgment until I’ve seen more. (Besides, it’s a great song, and as much as I have loved KC’s long insistence on new music over old, I’m in no way above the idea of re-Crim-inating some of the catalog; if that’s what the muse is interested in doing now, I’m happy to go along. Again, the trust has more than been earned.)
And boy, do I hear some treats in there. It is always a pleasure to hear T-Lev in a Crimson group, and the return of reedman Mel Collins holds a lot of promise. Watching and listening to Robert, it is obvious that he is playing the old piece with all the context of his subsequent work, and that is just a-okay by me; it’s also quite a charge to see him smile like that!
Finally, there is that triple-drummer frontline, and wow, does that sound fantastic. The stories of Mastelotto, Rieflin, and Harrison focusing on being a single drummer with one brain and six available hands–yeah, I’m believing that. The interplay here is magnificent, and true to intention, there really is no overplaying that I can hear, just a solid, collaborative percussion line that demonstrates much of the richness that Jamie Muir brought to the ’72 Crimson.
Yes, please, more of that! I do look forward to seeing what else they have in mind.