King Crimson - 2014 NYC
New King Crimson LIVE compilation series from the bandâs 2014 to 2021 line-up, starting with â2014 NYCâ.
Taken from live multi-track recordings from the bandâs electric four-night run in September 2014 (18th â 21st Sept)
2LP set cut by Jason Mitchell at Loud Mastering and pressed on 200-gram audiophile vinyl
Gatefold sleeve with new sleevenotes from King Crimson biographer Sid Smith
Robert Fripp: Guitar, Keyboards
Jakko Jakszyk: Guitar, Vocals
Mel Collins: Sax, Flute
Tony Levin: Bass, Chapman Stick, Backing Vocals
Drummers: Gavin Harrison, Bill Rieflin, and Pat Mastelotto
For King Crimson, New York was never just a tour-stop â it was a recurring stage in the bandâs mythology.
Starting with the 1969 Fillmore East breakthrough and running through those early-â70s returns, climaxing in the Larksâ-era farewell to that chapter at Central Park in 1974.
And when Crimson kept mutating, the city kept calling them back: Robert Fripp later pointed to the six nights at the Savoy in 1981 (after rehearsals tucked away in the garment district) as a high-water mark, and later line-ups - the Double Trio, Double Duo, and a 2008 quintet with newly recruited Gavin Harrison at the Nokia Theatre continued the Manhattan connection, right up to a major reset at the same venue (by then the Best Buy Theatre) in 2014.
That 2014 band looked like nothing else on the circuit: three drummers lined up across the front - an idea Fripp described as a sudden âpoint of seeing - turning rhythm into a moving, interlocked engineâ.
Crucially, they didnât treat the back catalogue like museum pieces; they played it as living material, rebuilt with microscopic attention rather than copied note-for-note.
The âdrumsonsâ delivered a choreographed surge and uncanny unity (Harrison joked it felt like âone drummer with six legs and six armsâ), and a calmer group chemistry let the seven-piece hit with brute force and fine detail at once - refreshing older classics and giving newer pieces extra muscle.
In New York, moments like âStarless,â framed with a deliberate red-light nod to 1974, landed as proof that Crimson could honour its past without slipping into nostalgia: a band that kept reinventing its own language, still pushing forward with no obvious limit.
From 2014 to 2021 King Crimson played music that was, in keeping with Robert Fripp's approach, "new whenever it is performed", freshly minted each night for a new audience to hear.
The band would frequently stay in one city for more than one night so that demand for tickets could be met while still appearing in venues where all of the audience could both see and hear fully.
â2014 NYCâ is the start of a new series (to be released on 2LP and 2CD), compiled from those runs of concerts at a single venue/city and commences from the first year of touring with a set taken from the band's four-night run in NYC in September 2014.
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Description
New King Crimson LIVE compilation series from the bandâs 2014 to 2021 line-up, starting with â2014 NYCâ.
Taken from live multi-track recordings from the bandâs electric four-night run in September 2014 (18th â 21st Sept)
2LP set cut by Jason Mitchell at Loud Mastering and pressed on 200-gram audiophile vinyl
Gatefold sleeve with new sleevenotes from King Crimson biographer Sid Smith
Robert Fripp: Guitar, Keyboards
Jakko Jakszyk: Guitar, Vocals
Mel Collins: Sax, Flute
Tony Levin: Bass, Chapman Stick, Backing Vocals
Drummers: Gavin Harrison, Bill Rieflin, and Pat Mastelotto
For King Crimson, New York was never just a tour-stop â it was a recurring stage in the bandâs mythology.
Starting with the 1969 Fillmore East breakthrough and running through those early-â70s returns, climaxing in the Larksâ-era farewell to that chapter at Central Park in 1974.
And when Crimson kept mutating, the city kept calling them back: Robert Fripp later pointed to the six nights at the Savoy in 1981 (after rehearsals tucked away in the garment district) as a high-water mark, and later line-ups - the Double Trio, Double Duo, and a 2008 quintet with newly recruited Gavin Harrison at the Nokia Theatre continued the Manhattan connection, right up to a major reset at the same venue (by then the Best Buy Theatre) in 2014.
That 2014 band looked like nothing else on the circuit: three drummers lined up across the front - an idea Fripp described as a sudden âpoint of seeing - turning rhythm into a moving, interlocked engineâ.
Crucially, they didnât treat the back catalogue like museum pieces; they played it as living material, rebuilt with microscopic attention rather than copied note-for-note.
The âdrumsonsâ delivered a choreographed surge and uncanny unity (Harrison joked it felt like âone drummer with six legs and six armsâ), and a calmer group chemistry let the seven-piece hit with brute force and fine detail at once - refreshing older classics and giving newer pieces extra muscle.
In New York, moments like âStarless,â framed with a deliberate red-light nod to 1974, landed as proof that Crimson could honour its past without slipping into nostalgia: a band that kept reinventing its own language, still pushing forward with no obvious limit.
From 2014 to 2021 King Crimson played music that was, in keeping with Robert Fripp's approach, "new whenever it is performed", freshly minted each night for a new audience to hear.
The band would frequently stay in one city for more than one night so that demand for tickets could be met while still appearing in venues where all of the audience could both see and hear fully.
â2014 NYCâ is the start of a new series (to be released on 2LP and 2CD), compiled from those runs of concerts at a single venue/city and commences from the first year of touring with a set taken from the band's four-night run in NYC in September 2014.
