King Crimson & The Zappa Band Tour Dates

As mentioned in this space a few weeks back, King Crimson and The Zappa Band (alumni of the late great Frank Zappa’s bands) will be touring North America this June & July, mostly at outdoor amphitheaters.  Tour dates are as follows:

June 4 – Clearwater, FL – Ruth Eckerd Hall
June 5 – St. Augustine, FL – St Augustine Amphitheatre
June 6 – Miami, FL – Mizner Park Amphitheatre
June 8 – Orlando, FL – Dr. Phillips Walt Disney
June 9 – New Orleans, LA – Saenger Theatre
June 10 – Memphis, TN – Graceland Soundstage
June 12 – Cary, NC – Koka Booth Amphitheatre
June 13 – Portsmouth, VA – Union Bank Pavilion
June 14 – Philadelphia, PA – The Mann Center
June 16 – Glens Falls, NY – Cool Insuring Arena
June 18 – Boston, MA – Rockland Trust Pavilion
June 19 – New York, NY – Forest Hills Stadium
June 20 – New Haven, CT – Westville Music Bowl
June 22 – New Brunswick, NJ – State Theatre
June 24 – Huber Heights, OH – Rose Music Center @ The Heights
June 25 – Louisville, KY – Palace Theatre
June 26 – Detroit, MI – Meadowbrook Amp
June 28 – Baltimore, MD – MECU Pavillion
June 30 – Vienna, VA – Wolf Trap
July 1 – Buffalo, NY – Artpark
July 5 – Chicago, IL – Ravinia
July 7 – Montreal, QC – Salle Wilfrid-Pelletier – Palace des Arts
July 9 – Quebec City, QC – Festival d’ete
July 11 – Ottawa, ON – Bluesfest
July 12 – Rama, ON – Casino Rama

VIP tickets (“Royal Packages”) will go on sale through DGM Live soon; tickets for most shows go on sale through Ticketmaster on Friday, March 13.  More details are available at Crimson’s website.  I’m looking forward to my tenth evening with the mighty Crim (and my second time hearing Zappa Band musical director Mike Keneally) on Friday, June 26!

 

— Rick Krueger

News of the World … of Prog

Big Big Train’s announcement of the Passengers Club and North American tour dates were just the tip of the iceberg this week!  In other progressive rock-related news:

King Crimson and The Zappa Band (the latter an authorized project of Frank Zappa’s estate, featuring alumni from his 1980s bands) will tour the USA and Canada in June & July.  One tour date (at Wolf Trap National Park for the Performing Arts) in Virginia has been announced for June 30th; others will be announced soon.

The three-part Emerson Lake & Palmer epic “Karn Evil 9” is being developed as a science-fiction movie, to start production later this year.  ELP managers Stewart Young & Bruce Pilato will serve as producers, along with Carl Palmer and Radar Pictures (developers of the Jumanji and Riddick franchises).

Plenty of great album releases are on the way as well, including:

Tiger Moth Tales’ live CD/DVD A Visit to Zoetermeer, out on February 21 and available to pre-order on Bandcamp;

John Holden’s Rise and Fall, the follow-up to 2018’s well received Capture Light, out on February 29;

Fernando Perdomo’s Out to Sea 3: The Stormout on March 6;

Rick Wakeman & The English Rock Ensemble’s The Red Planetout in April.

Time, it would seem, for the world of prog rock to awaken from its long winter’s nap!

— Rick Krueger

 

 

Markus Reuter, Truce (Or, A Centenary Worth Celebrating!)

Touch guitarist Markus Reuter’s new album Truce is utterly bracing, a cold slap in the face that boggles the mind and kicks off 2020 in the best way possible.  Recorded live in the studio on a single day in collaboration with bassist Fabio Trentini and drummer Asaf Sirkis,  this is the unfiltered sound of three virtuosos throwing caution to the winds and just going for it. Put simply, these seven instrumentals rock — hard, sharp and smart.

Reuter (best known for his partnership with King Crimson members Tony Levin and Pat Mastoletto in Stick Men) lets rip without a pause, now firing off astonishingly ballsy/brainy solos, now laying down pensive, brooding soundscapes — then layering the one atop the other! Trentini is stunningly melodic and stunningly powerful on fretless bass, always laying down a deep, unshakeable foundation for Reuter’s explorations.  Sirkis (one of the subjects of Bill Bruford’s doctoral dissertation Uncharted) is a genuine revelation on drums — simultaneously disciplined and free, tight and loose, spinning out endlessly compulsive grooves, whether subtle or stomping.  From start to stop, the music these three make is unbeatably powerful, head-snappingly varied, and vividly compelling — whether on the searing stomp of a title track, the brutal mid-tempo funk of “Bogeyman”,  the abstract balladry of “Be Still My Brazen Heart”, or the Police-ified dub wig-out of “Let Me Touch Your Batman”.  Listening to Truce is an hour-long thrill ride with tons of substance to chew on through multiple listens — one you need to experience for yourself.

Beyond its sheer brilliance, Truce is also a testament to one of progressive music’s unsung heroes — the 100th release masterminded by Leonardo Pavkovic.  Since 2001, Pavkovic’s one-man operation MoonJune Records has been on a mission to “explore and expand boundaries of jazz, rock, ethnographic, avant, the unknown and anything between and beyond” with artists from across the globe.  Whether relatively well-known (Tony Levin, Stick Men, Soft Machine) or criminally anonymous in the Western Hemisphere (Indonesian fusioneers Duwa Budjana and Dwiki Dharmann, Sirkis’ rewarding solo projects and marvelous International Quartet featuring vocalist Sylvia Bialas, masterful European musos like guitarist Mark Wingfield and drummer Xavi Reija), Pavkovic has believed in them, recorded them on their own and in exciting combinations (often at Spain’s La Casa Murada, where Truce was laid down), and helped them take their music to the people.   Already this year, Pavkovic has mounted North American tours of The Levin Brothers (cool jazz with Tony and pianist brother Pete) and vintage English/German proggers Nektar; Stick Men dates in Asia and North America follow starting in February.  Whew!

If all of the above intrigues you, MoonJune currently offers two in-depth ways to get in on the action.  A subscription plan gets you everything released for a year as multiple format downloads plus bonus back catalog albums and samplers plus 25 percent off vinyl, CD and merch purchases. (I splurged on this with Christmas cash, and am already plotting what to get next.)  Or the same amount ($100) gets you 19 album downloads from across MoonJune’s catalog or 19 CDs (selected catalog titles, with a minimal shipping charge added).

But if the above is too rich for your wallet, or you want to dip a toe in the water first, take my advice: listen to Truce.  And buy Truce.  Then dive deeper into what MoonJune Records has to offer.  I think you’ll be glad you did!

— Rick Krueger

moonjune

 

kruekutt’s 2019 Favorites: Reissues and Live Albums

Here are the reissues and live albums from 2019 that grabbed me on first listen, then compelled repeated plays. I’m not gonna rank them except for my Top Favorite status, which I’ll save for the very end.  Links to previous reviews or purchase sites are embedded in the album titles.  But first, a graphic tease …

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2019 Prog (Plus) Preview 2!

More new music, live albums, reissues (regular, deluxe & super-deluxe) and even books about music heading our way between now and Christmas?  Yep.  Following up on my previous post, it’s another exhaustive sampling of promised progressive goodies — along with other personal priorities — below.  Click on the titles for pre-order links — whenever possible, you’ll wind up at the online store that gets as much money as possible directly to the creators.

Out now:

Andrew Keeling, Musical Guide to In the Court of the Crimson King, 10/50 Edition: composer/musicologist/online diarist Keeling’s revision of his 2009 book (the first of a series acclaimed by King Crimson’s Robert Fripp).

Marillion with Friends from the Orchestra: 9 Marillion classics re-recorded by the full band, the string quartet In Praise of Folly, flautist Emma Halnan and French horn player Sam Morris.  Available on CD.

A Prog Rock Christmas: Billy Sherwood produces 11 holiday-themed tracks from the typical all-star cast (members of Yes, Utopia, Flying Colors, Renaissance, District 97, Curved Air and more).  Download and CD available now; LP available November 1.

 

October 25:

King Crimson, In the Court of the Crimson King (50th Anniversary Edition): featuring brand new stereo and surround mixes in 24/96 resolution by Steven Wilson.  Available in 3 CD + BluRay or  2 LP versions.  (Note that the new mixes will also be included in the Complete 1969  CD/DVD/BluRay box set, which has been delayed until 2020.)

Van Morrison, Three Chords and the Truth: 14 new songs from Van the Man, available in digital, CD or LP versions.

Neil Young & Crazy Horse, Colorado: the first Young/Horse collaboration since the 2012 albums Americana and Psychedelic Pill, available in CD or 2LP versions.

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King Crimson: Celebrating 50 Years of Hot Dates in Concert

King Crimson, Auditorium Theatre at Roosevelt University, Chicago Illinois, September 10, 2019.  (Featured photo by King Crimson manager David Singleton.)

“Expectation is a prison.”  Robert Fripp says that a lot.

He said it again this past Tuesday in Chicago.  Specifically, to about sixty fans who had paid a lot of cash for a King Crimson pre-concert VIP package.  Even more specifically, to one particularly zealous fan, who nervously, repeatedly begged Fripp to reveal if “Cat Food” was on the evening’s setlist.

Fripp wasn’t biting.  Having already pivoted from reflections on music’s ability to change the world and the necessity for presence in the musical event (like an abbot exhorting his monastic chapter) to “wittering” on the disadvantage of playing guitar while seated (“pimples on my arse”, spoken with the endearing delivery of a bawdy rock-and-roll Mr. Magoo), his response was firm, but simple: when you don’t know what’s coming next, consider it a challenge to pay more attention.  And to be more present.  Then Fripp let us take his picture while he took ours; manager David Singleton teased another possible US tour next summer (he deliberately doesn’t look at the setlist); and bassist Tony Levin engaged in a much lighter Q&A session (but he wasn’t telling, either).

As blunt as Fripp frequently is, his admonition came in handy Tuesday night.  This is the third time I’ve seen the current version of King Crimson live, and the personal temptation to tune out in anticipation of repetition from previous years (even seated in the center of the sixth row) was surprisingly persistent.  Fortunately, Fripp and friends weren’t about to let the sold-out, 4000-strong audience off the hook; the evening swiftly turned into another hot date with one of the best working bands in the world.

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Tool, Fear Inoculum

My history with Tool?  Checkered.  I didn’t tune in during their initial rage-metal period at all; if I had, I probably couldn’t have got past the vulgarity or the in-your-face attitude.  King Crimson opening for Tool (in my mind, Tool closing for King Crimson) got my attention in 2001, and I thought that Lateralus was a nifty hunk of knotty art-metal, with lyrical directions that began to clear a path through the bile.  10,000 Days?  For me, a loooong album that started strong, then meandered through one bizarre, tenuously connected detour after another.  It wound up giving me a headache (also my consistent reaction to The Mars Volta).  So no, Tool has typically not been my cup of tea.

Which is why I’m completely — and delightedly — flabbergasted by Fear Inoculum, Tool’s first album in 13 years.  Beyond being as heavy, brainy and cathartic as one might expect, this is deeply thoughtful, richly layered, compelling music — a satisfying, unified work from start to finish that also rocks like a truck full of bricks.  If this is what Danny Carey, Justin Chancellor, Adam Jones and Maynard James Keenan have been aiming for all these years, it’s been well worth the wait, because they’ve nailed it.

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