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King Crimson - Jakszyk, Fripp and Collins:  A Scarcity Of Miracles CD (album) cover

JAKSZYK, FRIPP AND COLLINS: A SCARCITY OF MIRACLES

King Crimson

 

Eclectic Prog

3.56 | 486 ratings

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admireArt
Prog Reviewer
5 stars Remember everything then just forget it all!

Imagine; that as all kingdoms fall, you find yourself in what was known as one of the "greatest" kingdoms of Pog, now burnt to ashes and with no name (after the Power to Believe's spiritual implosion!).... so the court reconstructs itself again as always.

Well known among anyone, friend or foe, the "King" (Robert Fripp) can re-construct this "kingdom" into any shape from scratch, as he has done more than once, with always daring and almost always excellent results (The "Midas Touch"). This un-King Crimson titled project goes by the main-name of this time King Crimson courtmen : Jakko Jakszyk guitar and voice, the always energized Mel Collins sax sound (which sets a whole new "old/modern" King Crimson tone), and of course the King himself Robert Fripp launching his guitar "soundscapes", "frippertronics" and genius, to the whole architecture. Holding these structures, long time accomplice inside the court and outside it Tony Levin master magician bass player and the new blood of Gavin Harrisons┤s clean and tight drumming style and Gu Zheng's keyboards .

Result, if a hard core King Crimson fan from the beginning? Nothing better could have happened to the Kingdom, if new-comer? Wow! you got it easy my friend, here everything is bold as new. The usual great song-writing, with very mature and compromised musicians/artists, re-starting a "legend" which has re-incarnated more than once, for the benefit of us Prog enthusiasts.

KING CRIMSON a "Scarcity of Miracles" is something between a "Lizard" and " Larks's Tongue.." electro-acoustics with the heavy chords and depths of the later "Power to Believe", tainted with ephemeral splashes of the wild-experimentation tones of "X".

Really, it all seems and feels like new, even, in the very wide KC's mutable musical language. Everything has to do with the more "up-front" sax melody lines moving alongside the vocals and as a massive backdrop a myriad of "soundscapes/frippertronics" structures ("November Suite"/"Radiophonic"- like) wrapped tightly by the perfect drum/bass unit. Its music composition, of course, is close to Robert Fripp's last efforts with also wind player and composer Theo Travis.

Good musicianship if always polished and renewed but never spoiled, by definition, creates great results. If done with vision, excellence!

*****5 full PA stars.

admireArt | 5/5 |

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