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KCCC 13 - Nashville Rehearsals 1997

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KCCC 13 - Nashville Rehearsals 1997

Postby vrooom on Sat Apr 24, 2004 5:09 pm

Your thoughts about this album to be posted here - so feel free to talk about your first listen, what you like about this album, what you don't like, etc.


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Postby Fred Zappelin on Sun Jun 20, 2004 6:36 pm

This is my favorite of the three non-live Club releases. It's interesting how much different this is compared to Vrooom Sessions. I like CoL & the double duo, but it would have been great if they made an album out of this. From the liner notes setlist, this could have been a double-disc set too. Some of the tracks are very short, but the longer ones are really great. "Too Many eeeee's" sounds familiar; Level 5?
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Postby vrooom on Mon Jun 21, 2004 3:20 pm

I love those studio KCCC releases and IMHO I think those discs are the true jewels in the crown of the KCCC. It is fascinating to hear how ideas are presented and worked upon. In this instance, it is also good to hear BB's good words about the material and the band before his departure.



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Postby Gilesfan on Tue Mar 29, 2005 7:31 pm

I read about this in the Bill Bruford interview thread.

What's the story with this one? Was this the whole Double Trio right before Bill left?

Is this kind of like KCCC #8: The Vrooom Sessions 1994?
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Postby vrooom on Tue Mar 29, 2005 9:08 pm

Gilesfan wrote:I read about this in the Bill Bruford interview thread.

What's the story with this one? Was this the whole Double Trio right before Bill left?

Is this kind of like KCCC #8: The Vrooom Sessions 1994?


Yup. It features some early sketches of TCoL and material from the ProjeKcts. On it you can hear BB on two occasions really talking up the band and being enthusiastic about the playing. It's astounding that moments later he was supposedly doing the opposite, but hey, that's rock 'n' roll for yer.


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Postby Guest on Tue Mar 29, 2005 10:47 pm

Am I missing something? I just read the BB interview in which he does not speak very positively about the Nashville Rehearsals and states the music was going nowhere. I found this release interesting in that we get a peak at what a rehearsal by great musicians actually sounds like. However I thought the whole disc to be rather uninspired and agree with BB that it was going nowhere. All the ProjeKcts discs on the other hand are excellent (except all ProjeKct 2 discs that suffer from Adrian Belew's rather amateur attempt at playing drums). The two occasions on the Nashville disc that BB pumps it up sound to me like one musician trying to get the session going in the right direction with no help from his bandmates.
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Postby vrooom on Tue Mar 29, 2005 10:53 pm

laz wrote:The two occasions on the Nashville disc that BB pumps it up sound to me like one musician trying to get the session going in the right direction with no help from his bandmates.


I think you have a very valid point there. BB cared very much about KC during the double trio period to the point where he did a lot of the interviews and talked the band up a lot. I think some of that comes out on the KCCC disc too. I think he was trying to be the coach and trying to get behind the band, but it just wasn't happening. When you try and be the coach, I guess that's the time when RF asks you to leave.


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Postby ChewChewGumChew on Wed Mar 30, 2005 12:13 am

I like (most of) The ProjeKcts stuff and TCOL is currently in my Top 2 KC desert island discs, but I think if the Double Trio held it together, the resulting album would have been awesome. I mean imagine if Bill and Tony had play on TCOL. Acoustic and electric drums, Trey's "rubber bass" with TLev's "funk fingers". Picture how LTIA4 would have turned out!! WOW!! Maybe it was for the best, but it would have been cool to hear.
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Postby monokchrome on Wed Mar 30, 2005 4:32 am

vrooom wrote:
laz wrote:The two occasions on the Nashville disc that BB pumps it up sound to me like one musician trying to get the session going in the right direction with no help from his bandmates.


I think you have a very valid point there. BB cared very much about KC during the double trio period to the point where he did a lot of the interviews and talked the band up a lot. I think some of that comes out on the KCCC disc too. I think he was trying to be the coach and trying to get behind the band, but it just wasn't happening. When you try and be the coach, I guess that's the time when RF asks you to leave.



Aye, this is true. When BB gets into a project, he really does seem to give it his all. Your comments remind me of that 'last' concert of King Crimson ver 3, as catalogued on The Great Deceiver, disc 1. During that concert, BB can be heard encouraging the other band members and really pushing the vibe and energy from his drum throne. I think it's after Fracture that he yells out: "Keep going! Keep going! It's the last round! Keep going!" After which, the band majestically processes into a final triumphant rendition of Starless. A moment of resonance, as RF himself stated.

I suppose this also highlights the changes that RF went through after his induced retirement of the late 70s. Loosely, he can be seen as being pushed around and steered quite a bit by the other band members during the Larks' era. Heck, even Wetton and Bruford were apparently allowed free reign during the recording sessions for Red, whilst Frippo just played catatonically and ineffectually.

This contrasts with the later Fripp, who seemed much more particular and precise in his visions, intentions and directions. I guess from the Discipline era onwards, King Crimson truly became his responsibility that was shared out to 'specially selected guests', and not a communal project through and through.

Not that there's anything particularly wrong with that approach. BB and RF have always had a love/hate relationship. But they were too close as musicians to really do much about it for almost two decades. Plus they were British - so they really knew how to mince words politely, without necessarily being courteous. :wink:
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Postby Gilesfan on Wed Mar 30, 2005 10:07 am

vrooom wrote:I think he was trying to be the coach and trying to get behind the band, but it just wasn't happening. When you try and be the coach, I guess that's the time when RF asks you to leave.


That, or when others leave first!

monokchrome wrote:When BB gets into a project, he really does seem to give it his all.


No doubt. Anyone who would chase him off and not accept his sincere apology has issues. For crying out loud, how many years has Fripp known Bill? At least 25 years at the time of "the incident." Grow up!

monokchrome wrote:Loosely, he can be seen as being pushed around and steered quite a bit by the other band members during the Larks' era.


Even before that. I would not say "pushed around" though. For one thing, he had such incredible players and the fact that he was fortunate enough to keep King Crimson going at all after the departure of McDonald, Giles and Lake is a miracle in itself. So I think during that time (1970-73) he felt fortunate to have a band that would tolerate and put up with him in the first place.

monokchrome wrote:Heck, even Wetton and Bruford were apparently allowed free reign during the recording sessions for Red, whilst Frippo just played catatonically and ineffectually.


I think at this point Fripp knew the end was very near and was just buying time. I don't think he was playing catatonically and ineffectively though. Fripp is magnificent (as always) on Red.

monokchrome wrote:
This contrasts with the later Fripp, who seemed much more particular and precise in his visions, intentions and directions. I guess from the Discipline era onwards, King Crimson truly became his responsibility that was shared out to 'specially selected guests', and not a communal project through and through.


In 1969, I don't think Fripp would have gotten away with this vision of himself as "coach" or whatever he has become. I am sure he knew this at the time too, had he had such ambitions. I don't think McDonald, Giles and Lake would have put up with it. Maybe that is partly why they all left in the first place. They could see where it was leading to.


monokchrome wrote:Not that there's anything particularly wrong with that approach. BB and RF have always had a love/hate relationship. But they were too close as musicians to really do much about it for almost two decades. Plus they were British - so they really knew how to mince words politely, without necessarily being courteous. :wink:


Well, again as I mentioned, Fripp should know Bruford (quirks and all) after working with him since 1972.
Last edited by Gilesfan on Thu Mar 31, 2005 7:57 am, edited 1 time in total.
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