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King Crimson

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King Crimson (formed in 1968) is a pioneering British progressive and experimental rock group. Known for their unpredictable and expansive instrumentation, King Crimson are led by Robert Fripp, originally hailing from London, UK.

From the ashes of the trio Giles, Giles & Fripp, featuring brothers Michael and Peter Giles and the Robert Fripp, came to progressive force of King Crimson. With line-up changes as variant as weather in Autumnal Britain, by 1969 the line-up consisted of guitarist Fripp, vocalist/bassist Greg Lake, guitarist Ian McDonald and drummer Michael Giles. In possibly the highest-exposing debut of the Century, the band made their debut to 650,000 people in support of the Rolling Stone at London’s Hyde Park. Shortly after King Crimson recorded their debut album “In the Court of the King Crimson”, an ambitious progressive-rock album that found favour with the sound of the times in both the UK and the U.S.

McDonald and Giles departed shortly after, as did Greg Lake after recording vocals for the band’s sophomore release. In 1970 the single “Catfood” preceded the album “In the Wake of Poseidon”, a Fripp-filled affair that marked the arrival of Fripp’s school friend Gordon Haskell. The arrival of more musicians, including Haskell, Mel Collins, Keith Tippet and Jon Anderson led to long rehearsal sessions, and ultimately the band’s third full-length “Lizard” in late 1970. The album draws strong influences from the Jazz genre, notably Miles Davis, and has long stretches of developmental instrumentation, leading some critics to praise the band’s breaking of the rock formula.

After a series of auditions including that of a young Bryan Ferry, Fripp enlisted Boz Burrell as King Crimson’s new vocalist, alongside Fripps, Collins, Burrell, and drummer Ian Wallace. The band began touring the world and released their fourth studio album “Islands” in 1971, which reached No. 30 in the UK and No. 76 in the U.S. The plague of the tumultuous line-up returned thereafter with Wallace, Collins and Burrell all moving to the band Snape, and King Crimson appearing like a thing of the past. Fans’ fears however were never actualised as in the summer of 1972 Fripp recruited Bill Bruford, John Wetton, David Cross, and Jamie Muir, and King Crimson returned to release “Larks’ Tongues in Aspic”. The album, which was Fripp’s most experimental to date, features the strongest vocals since Greg Lakes departure, and incorporates the sounds of classical and soft jazz. The new line-up made their debut in Frankfurt in October 1972, around which time “Larks’ Tongues in Aspic” had climbed to No. 20 in the UK. Becoming the first King Crimson line-up to record two albums and embark on two American tours, the band returned in 1974 to release “Starless and Bible Black”.

With a once again fractioning line-up, reduced to the trio of Fripp, Wetton and Bruford, the album “Red” was issued in the summer of 1974 after which Fripp dissolved the group. After the release of Fripp’s debut solo effort “Exposure” in April 1981, Fripp enlisted the help of Bruford, bassist Tony Levin and guitarist/singer Adrian Belew under the moniker Discipline. By October the name had reverted to King Crimson, and featuring a jolting sound unlike any of Fripp’s previous efforts, they released the subsequent albums “Beat” in 1982 and “Three of a Perfect Pair” in 1984.

An entire decade passed before the King Crimson light shone once again, with Fripp reuniting with Bruford, Levin, Belew. Alongside new members Pat Mastelotto and Trey Gunn, King Crimson release the EP “VROOM” in late 1974, and the full-length “Thrak” in 1975. The band’s subsequent album “ConstruKction of Light” was five years in the making, with band members often forming subgroups to experiment with musical ideas. The EP “Level Five” arrived in 2001, followed the year after by the 11-track EP “Happy With What You Have to Be Happy With”. The two EPs diverse instrumentation paved the way for Crimson’s 2003 album “The Power to Believe”, which received strong reviews from critics.

Live reviews

The Sept 8 show in Stuttgart was everything I had hoped for and then some. The venue was very comfortable, not crowded seating and there was not a bad seat in the house as far as seeing the band.

What can you say about a band that plays music like this? Progressive does not even remotely begin to describe it.

For this show, I took my nephew with me. It was his first concert and he has...different musical tastes than perhaps the average King Crimson fan does. The one word description he had for me was "heavy". I think that is a good one word descriptor. I told him that I thought it was symphonic, very European, angular and symmetric. He said heavy, and I like his descriptor better.

He was blown away by Fripp's guitar playing, particularly during the solo bits of augmented chord arpeggios he does during Fracture.

I told him he was quite lucky that King Crimson, at this level of power and skill with three drummers working so well in tandem together, was his first concert ever. He was completely blown away by the show.

I, being a much older fan, having starting my apprenticeship in the court in the '80s with Discipline and then working my way backwards to the Pete Sinfield days and being awestruck by Red, could not have happier with what I heard. This was mostly old school Crimson, with some of the uber difficult material from the "newest" albums included. No Belew here at all, and given the material that was chosen, he was not terribly missed, but of course being a Crimson fan I love all of the incarnations and I did miss that voice and those crazy guitar noises. It was Belew's tenure that I was most personally familiar with since I didn't know about Larks Tongue's in Aspic except as research material after I was caught by Discipline. So I did miss that. But the new inclusions made up for it in spades.

Jakko and Mel Collins were the biggest surprises of all. Mel is so good he makes you forget he's playing a flute over this serious racket and he makes it sound calming and soothing. Consequently, my nephew thought he made it sound dirty and nasty sometimes and thought he played like he imaged a satyr would. Top marks for my nephew, I should think. Jakko, on the other hand, is ridiculously good and I will seek out other things he has done before Crimson if that's how he sings and sounds and plays. He could stand toe to toe with Fripp on those blinding fast chromatic bursts of single notes and he made it sound clear and crisp.

The one thing that always struck me about Fripp was the ability to have that never-ending round single note sound almost seem like it wasn't a guitar but some other instrument, like a ondes martinet or an oboe with a dirty reed heard through a drainpipe. That was in full effect this evening. He had that going on and the other thing that I love about Fripp is that he could stay permanently in augmented scales and it would never need resolution. It's that particular scale that seems to wind it's way around your brainstem like a serpent and it can just go on and on and on and never seem to land, and Fripp exploits it not only beautifully, but powerfully and in an almost clinically cold and sterile fashion. It's very compelling.

The songlist itself was exactly what I would have expected. Standing out for me was Starless, Red and everything they did from Islands. That is a special album for me since it was one of the most "accessible" records they ever made, if you could ever call King Crimson that. I had zero complaints about anything they played.

The ONE thing I will say that I found a bit...off-putting for lack of a better word, is the drumming. It was over the top. It was very cool when they were doing the intros to all of the 3 sets, well, 2 sets and an encore. But when it came to the full band, sometimes the music was utterly drowned out by the drums. A bit better mixing would go a long way to making sure that no one in the back row was obscured by the percussion, but it never really lasted long and I think they got the mix better by the end of the night, so perhaps the mixers have a trial and error period due to each room's unique characteristics. But that was really my only gripe, and that has bugger all to do with King Crimson.

It was a magical night for me. My nephew thought it rocked. Need I say more?

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King Crimson Elements Tour - Seattle Crimson was been through more configurations than I can quickly count. This tour features yet another lineup, one that combines some past members with brand new members. Given the variables in play (this 7 person lineup is their largest ever, I believe), I didn't really know what to expect. What I got was the finest live performance I have ever seen by this or any other band. I've been watching bands big and small in all sorts of venues for nearly 40 years, so I do say this lightly. I was trying to figure out WHY it was so amazing and here's what I've come up with: The band is comprised solely of crack, veteran players. Any one of the band's members is arguably in the top level for their instrument, e.g. Robert Fripp on guitar, Tony Levin on Chapman Stick/bass, etc. The band's age was an advantage. No tussle for control, no intermural BS. These are seasoned players who want to play with other players of their ilk. Musicians who work ceaselessly at their craft in pursuit of a creative ideal that is greater than what any of them could create on their own. The inclusion of sax/flute player Mel Collins opened up a lot of the older portfolio. Tony and Robert have played together for over 30 years, so it is possible for them to lead the group in virtually any song in the library.

Because of all that, the concert included songs from the 1st and 2nd albums all the way up to a couple new compositions and virtually every iteration of KC inbetween. The only parts that were skipped were the early 80's incarnation. That would normally have disappointed me, but not last night. The playlist was both familiar and fresh in its reimagining of older classics alongside newere pieces. The concert opened with Lark's Tongues in Aspic, Part 1. But instead of the light percussion/violin opening, Pat Mastolletto and Gavin layed a marimba/gamelan duet. Absolutely mesmerizing. When the guitars, bass and full drum kit came on, it literally blew the tops off everyone's heads. The show was heavy, really heavy. Red heavy. In fact, 3 of Red's tracks were in the set list. The non-Red tracks had a distinct Red makeover.

The triple drum assault is impossible to convey in words - the combined percussive impact was felt as well as heard and drove the entire show to be played at a very high volume. The level of musicianship on offer was staggering. My girlfriend remarked that she didn't know where to look - with 7 top rate players doing complicated shit ALL the time, it was hard to know what to focus on.

The sound quality was sterling. Fantastic mix. The sax was occassionally buried in the mix, but the three drum kits were distinct, Tony's bass/stick/double bass was prominent without being overbearing. Given the technical challenge of mixing for 7 musicians, I have to tip my hat to the folks manning the soundboard. There were not big FX, light shows, etc. For most of the show, the stage was just lit - plain white light. At the end, the switched to redlight illumination and it was quite dramatic after no real lighting FX till then. Did I mention these guys were astonishingly adept musicians with fantastic feel for each piece?

I could go on, but really the only thing that I regret is that the tour is done and there is no way to see them again. For now.

KING CRIMSON CONCERT - ORPHEUM THEATRE - LOS ANGELES OCT/02/2014.

Finally I have the opportunity to see this band live! I have to travel from Tijuana, Mexico to Los Angeles only to listen and presence these guys!

As expected on a King Crimson concert, no photos or videos were allowed during the performance of the band, and actually, there was a recorded audio intro of the band members providing their opinions about being in a concert and recording with a cellular device; obviously, talking no good things about this activity.

Anyway, I didn't complain about that, since it is actually TRUE. When you see this band live, it is a total joy to contemplate what are they doing in their respective instruments... it is just very impressive. In the musical side, they are true masters of their instruments, with an amazing biography each one of them.

Something that I was very impressed, is that the actual line up of King Crimson consists of three drummers! Each drums were microphoned so well, that even a little sound on a tom, snare or cymbal, was audible, making it more incredible for the audience how precise and accurate are the drummers in their playing.

Another interesting feature on this new line up, is the inclusion of wind instruments, played by Mel Collins. I consider myself not a fan of this instrument at all, but I have to admit that most of the arrangements on the songs sounded amazing.

Most of the material played were from their 2000 albums and 1970s albums... and that is not a complaint at all. With a band like King Crimson, you don't have place to lose, all their music from whatever era is just fantastic and well crafted.

The most pleasant surprise of the night was that the encore featured their famous song 21st Century Schizoid Man! Just so exciting to listen it live!

This performance reached the level I had in mind... and actually surpassed it.

Long live the King Crimson!

By Pea Trayer

A night of spiritual and technical magic set in a place of acoustic perfection. The King Crimson show was one of the five best shows I have ever seen and I have seen hundreds of shows in multiple countries. When I got home after the show I sat in silence for an hour because I could not imagine hearing anything else after the show.To see and hear masters at their craft coming together with such precision was hypnotic. Their catalogue of music is so vast and they managed to pick gems such Larks Tongues in Aspic parts 1 and 2, Pictures of a City and others that covered so many great albums.. I almost jumped out of my seat at the wonder of Red. The confluence of three drummers was something I had never seen before. To all be playing something different and then snap into syncopation for a few notes and then return back to their previous drumming was impressive. Fripp of course tried to fade into the back ground. Sitting on his stool, body still but fingers flying. It is astounding that the person you notice least is the mastermind behind this life altering music. I saw Crimson in 1984 and 1995 during the Belew era and they were brilliant but this was something on another level. To play this kind of music and not have it come out as noise takes a deep understanding and trust amongst the musicians. King Crimson truly is the creator of complex symphonic industrial sound. So many bands owe their sound to King Crimson. I will treasure this night of perfection that took me out of myself, gave me renewed energy and brought so much joy that my eyes were moist when the show ended.

Overall, it was a good show, with songs ranging from the early Crimson (great version of the "21st Century Schizoid Man" on the encore), to the very latest ("Meltdown"). The insertion of saxophone and flute works better in some segments (like "Starless and Bible Black") than in others ("Red"). Jakko Jakszyk's vocals are fine for this set up, although he seems to have struggled a bit with the "Epitaph." Or maybe it was just the last leg of this part of the European tour.

Performance was exceptional, with the spectacular input of three drummers (perhaps not used as much as they could be -- they need new songs), very solid Mel Collins, spectacular Tony Levin, and Robert Fripp... well, being just himself. This was a celebration for every Crimson fan.

On the down side, the huge placards on the stage before the beginning of the concert asking people not to film or record the show (followed by the live announcements in both German and English) were a bit excessive. Also, while performance was technically brilliant, there was no real passion, there was a spark missing that would ignite a very welcoming audience.

To conclude, this was a very fine concert by a band that has the strength and the quality to constantly re-invent itself. Or it was the ultimate cover band for the early King Crimson. The choice is yours.

Nov 3rd London Palladium. I’ll start with my wife’s opinion. “I can’t understand why any band would want to make that sound, and indeed, why anyone would want to pay to listen to it!”

Now I enjoyed it a lot more than that, but this isn’t the Crimson I personally wanted to hear. The KC I love is the one where they are moving forward, experimenting with sound and progressing. For me, Adrian Belew was a big driver of that. Here we have a band playing 2 types of music. What I consider middle of the road stuff from the 60s and 70s, then industrial numbers mainly from Mr Belew’s tenure. Level 5 for example, was stunning.

The older tracks are songs that KC would never generally play in the 80s/90s/00s because they were moving forward. There is such a stark difference between those tracks that I either sit and hope the song will finish soon, or I love it. Nothing in between. In addition songs like indiscipline in particular miss Mr Belews psychotic fguitar style. Three drummers makes for quite a spectacle, but I’m not sure it adds to the music. Pat Mastalloto used to manage perfectly well on his own (and with Bruford). Music appreciation is subjective so I understand that others may entirely disagree with me, and fair enough. But this KC incarnation isn’t a touch on the last one.

It was fine. A die hard fan would say it was the best show of all time. For me, who is "just a fan" and has most of their studio work and has seen them several times, it was fine.

Given that it was billed as the 50th anniversary tour of 21st Century, I expected if not that album end to end, at least more of it. Alas, they are the height of a band that refuses to pander to the fans who love their old "hits".

The musicianship was stellar, incredibly tight performance. Absolutely no stage show, no interaction with audience. Ridiculously over the top ban on the use of phones with in your face reminders by the band and ushers running around the venue shining lights in faces and leaping across seats to stop people from taking a picture. Crazy distracting and just stupidly unnecessary. I heard "huge fans" defending it, but really, it was just stupid. They just shouldn't tour if they can't put up with people posting pics and saying how much they love the band!

And as always, the Budweiser stage is just a horrible venue. Terrible logistics, poor sound, insanely overpriced food and beverage and just too much security and police constantly in your face. I think if the show had of been in Sony Center or some other small venue I'd have given it a "great" instead of an OK.

Bill Bruford, a man who played with Genesis, Yes and, at points, King Crimson, once said this about that third band: “everything you’ve heard about King Crimson is true. It’s an absolutely terrifying place.” What Bruford’s comments - tongue-in-cheek or otherwise - really represent is the fact that fear so often lies in uncertainty, because during their initial run, between 1968 and 1974, nobody on the planet had heard anything quite like King Crimson. For all intents and purposes, they invented progressive rock, and fused styles in such an avant-garde manner that it was just the sheer range of possibilities that was frightening, more than anything else; on their iconic 1969 debut, In the Court of the Crimson King, they broke just about every rule in the book, and in doing so, became one of the most influential bands of all time. With varying lineups, they’ve continued to reform and then disband again over the years; currently, the band is officially active, having reconvened again last year. Bandleader Robert Fripp led the reunion, despite no prior indications that he’d be involved, and the plan is to bring their famously complex live show to the U.S. late this year and then likely the UK at some point in 2015; keep your eyes peeled for dates.

King Crimson has shown once again their impressive musical talent and legacy. They have under their belts 30+ years of accumulated hits and they still sound fresh and highly inspiring. One can appreciate how they pay attention to detail in reproducing every song as if it was orchestrated and written down in music sheets (it probably is). This show in Massey Hall, Toronto, featured an 8 piece band, 3 of them being drummers whom shared the work as one brain.

King Crimson music can be described as being inspired by cold sweat dreams or plain nightmares, with some moments of extreme peace to be broken down again to a state of mental illness. I was really impressed at how they create an atmosphere without rushing, without trying too hard; for example when Jakko Jakszyk is playing only one note on two different strings and the lights slowly turn from blue to intense red I could only think on the simplicity of the performance but how much of an effect is causing. That was probably my favourite part of the show. It takes magic and expertise to create such an intense effect with so little and to sink a whole audience in a nightmarish feeling, and it's not about how hard you beat the drum or how loud the speaker system is.

This is the first live tour by the band since the 80s.

Those who love the music of King Crimson will certainly want to attend one of the shows. Therefore in this review I will deliberately avoid spoiling the surprise by revealing the specifics of the set list etc.

However first and foremost aficionados will NOT be disappointed! This was an amazing show with top ranking musical performances. The lineup with 3 drummers is utilised brilliantly. The set list will leave no one disappointed and the audience members with whom I shared a lift in the nearby car park were in a stunned silence...until I broke the spell by saying : "Well. That was Good!" Followed by an excited chorus of agreement.

One tip:If your local venue has 2 nights booked if you possibly can try to go to both as the idea is that the shows each night will be different!

In short this was a memorable return to a live existence in stunning form. Do not miss it!

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King Crimson’s Robert Fripp Announces “An Evening of Conversation” 2022 North American Tour

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The post King Crimson’s Robert Fripp Announces “An Evening of Conversation” 2022 North American Tour appeared first on Consequence .

Robert Fripp , known to generations of music fans as the founding guitarist of UK prog-rock legends King Crimson — and to new fans for his fun-loving “Sunday Lunch” YouTube performances with wife Toyah Willcox — has announced “An Evening of Conversation” 2022 North American tour with his longtime producer, manager and business partner David Singleton .

The tour kicks off September 16th in Toronto and runs through an October 9th show in Chicago, with tickets currently available via Ticketmaster .

Fripp and Singleton co-founded the record label Discipline Global Mobile in 1992, while the latter has produced a number of King Crimson’s albums since the 1990s. In addition, Singleton has managed the band since 2018.

A tongue-in-cheek press release reads, “An endless stream of people ask Fripp burning questions, many of which are actually not even quite smoldering. In most cases they would be better answered by David Singleton. This is an opportunity to ask both Fripp and Singleton the questions that get them out of bed in the morning.”

It continues, “Where does Music come from? What does it take to survive the music business? When does the impossible become possible? Can Music change the world? Why did Fripp put on a tutu and dance to Swan Lake at the end of his garden? Who is The Vicar?”

A poster for the tour takes the self-deprecating humor one step further, calling the outing “An Evening with That Awful Man and His Manager.”

In addition to asking about his work with King Crimson, fans may want to query Fripp about his collaborations with David Bowie, Brian Eno, and Peter Gabriel, among others. But we’re guessing that many are curious about his weekly series of cover songs with his scantily-clad singer wife Toyah.

Toyah Wears Only Gold Leaf and Paint as She and Robert Fripp Perform Foo Fighters’ “All My Life”: Watch

The couple’s most recent “Sunday Lunch” performance sees Toyah wearing nothing but strategically placed gold leaf on her body while pouring paint all over herself, as the pair cover Foo Fighters’ “All My Life.” The husband and wife have racked up millions of views on YouTube over the course of the pandemic-inspired series, with their cover of Metallica’s “Enter Sandman” reaching 8 million views alone.

See Robert Fripp and David Singleton’s “An Evening of Conversation” tour dates below, and pick up tickets here .

Robert Fripp and David Singleton’s “An Evening of Conversation” Tour Dates: 09/16 – Toronto, ON @ Royal 09/17 – Montreal, QC @ Club Soda 09/18 – Quebec City, QC @ Imperial Bell 09/19 – Syracuse, NY @ Carrier Theater 09/21 – Ridgefield, CT @ Ridgefield Playhouse 09/22 – Boston, MA @ City Winery 09/23 – New York, NY @ City Winery 09/24 – Albany, NY @ Swyer Room 09/27 – Red Bank, NJ @ The Vogel 09/28 – Philadelphia, PA @ City Winery 09/30 – Washington, DC @ City Winery 10/01 – Annapolis, MD @ Ram’s Head Live 10/02 – Oakmont, PA @ Oaks Theater 10/05 – Cleveland, OH @ Music Box Supper Club 10/08 – Milwaukee @ Wilson Theater-Marcus Center 10/09 – Chicago, IL @ City Winery

King Crimson’s Robert Fripp Announces “An Evening of Conversation” 2022 North American Tour Spencer Kaufman

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King Crimson’s Robert Fripp Announces “An Evening of Conversation” 2022 North American Tour

The prog-rock legend will answer questions alongside his producer, manager and business partner, David Singleton

The tour kicks off September 16th in Toronto and runs through an October 9th show in Chicago, with tickets currently available via Ticketmaster .

A poster for the tour takes the self-deprecating humor one step further, calling the outing “An Evening with That Awful Man and His Manager.”

Robert Fripp and Toyah Foo Fighters All My Life

Toyah Wears Only Gold Leaf and Paint as She and Robert Fripp Perform Foo Fighters’ “All My Life”: Watch

See Robert Fripp and David Singleton’s “An Evening of Conversation” tour dates below, and pick up tickets here .

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King crimson's robert fripp announces "an evening of conversation" 2022 north american tour.

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Into The Frying Pan (Vox And Guitars)

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Stripping back the layers of instrumentation to peer through to the inner core of a song is always an interesting exercise. This latest demix from Alex Mundy offers Crimheads an opportunity to go, metaphorically at least, ahem, into Into The Frying Pan. Initially beginning life as a descending/ascending motif developed by Fripp and Gunn it was prom...

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King Crimson’s ‘Final’ Tour In The U.S.

via King Crimson / Youtube

The Pandemic Affected Them

In a new interview with UCR, King Crimson singer-guitarist Jakko Jakszyk revealed that King Crimson’s Music Is Our Friend Tour will be their last. Although they didn’t advertise it as their farewell trek, that’s actually what it is. Their current lineup features founding member Robert Kripp, bassist Tony Levin, saxophonist Mel Collins, and drummers Gavin Harrison, Pat Mastelotto and Jeremy Stacey. They’ve been touring since 2014, even though they haven’t recorded a studio album.

“Management has said it’s very unlikely we’ll be back in America,” he said. “I think they thought announcing it as a kind of farewell tour was a tacky device, and something you end up potentially regretting if you change your mind. But in essence, as I understand it, this’ll be the last time we play here.”

“When we started we thought, ‘Oh, maybe one tour,’ but Robert seemed to be enjoying himself, so it just kept going,” he explained.

However, like the rest of the touring industry, King Crimson wasn’t spared by the pandemic. Their touring plans were derailed.

“Touring anywhere next year will be difficult,” he noted. “All the bands that haven’t toured last year or this year will be out next, so there’s no venues. They’re all kind of booked up already. That means the first available chance will be the year after (2023).”

“I think Tony and Robert will be 77. I’m not sure they want to be on a tour bus for hours on end,” he added. “Touring the way we do is tiring for a young man, much less people our age.”

The band’s North American tour kicked off on July 22. The trek wraps up on September 11, while the Japanese run starts on November 27.

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King Crimson Announce U.S. Tour

By Claire Shaffer

Claire Shaffer

King Crimson have announced a return to touring this summer with a 2021 U.S. route.

The Music Is Our Friend Tour will kick off July 22nd at Ruth Eckerd Hall in Clearwater, Florida, and will run through the summer and early fall with a final show in Washington, D.C., on September 11th.

Lead guitarist Robert Fripp will be joined by bassist Tony Levin, vocalist/multi-instrumentalist Jakko Jakszyk, multi-instrumentalist Mel Collins, and drummers Pat Mastelotto, Gavin Harrison, and Jeremy Stacey. Additionally, on select dates, the tour will be opened by the Zappa Band, consisting of lead vocalist and guitarist Ray White, guitarist and keyboardist Mike Keneally, bassist Scott Thunes and keyboardist/saxophonist Robert Martin, along with Zappa Plays Zappa alums Jamie Kime on guitar and Zappa archivist Joe “Vaultmeister” Travers on drums.

In a statement, Fripp wrote: “The Crimson Beast of Terror has woken from its enforced slumbering and is venturing out to stomp flat the psyches of innocents not yet experienced in the hammering onslaught of King Crimson’s uncompromising pounding — bish! bish! bish! — before turning on a beat to jellify hearts with gut-wrenching passion and soul-squeezing epic unfoldings to remind us that we are all mere subjects in the unfolding drama of the universe’s unfathomable mysteries while simultaneously rocking out and having a great time bopping about with Tony and Bobby and Gavin and Jakko and Mel and Pat and Jezza, too.”

See a full list of dates below and find available tickets at VividSeats.com .

King Crimson 2021 Tour Dates

July 22 – Clearwater, FL @ Ruth Eckerd Hall July 23 – Delray Beach, FL @ Old School Square July 24 – St. Augustine, FL @ St Augustine Ampitheater July 26 – Orlando, FL @ Dr. Phillips Walt Disney Theater July 27 – Atlanta, GA @ The Fox July 28 – Nashville, TN @ Ryman Auditorium July 30 – Fort Worth, TX @ Will Rogers Memorial Auditorium July 31 – Cedar Park, TX @ H-E-B Center August 2 – Greenwood Village, CO @ Fiddlers Green Amiptheater August 3 – Sandy, UT @ Sandy Ampitheater August 5 – Concord, CA @ Concord Pavilion * August 6 – Los Angeles @ The Greek * August 7 – Scottsdale, AZ @ Talking Stick Ballroom August 23 – Saratoga Springs, NY @ SPAC * August 24 – Northampton, MA @ The Pines Theater * August 26 – Canandaigua, NY @ CMAC * August 27 – Lewiston, NY – Artpark Ampitheater* August 28 – Rochester Hills, MI @ Meadow Brook Ampitheater * August 29 – Highland Park, IL @ Ravinia * August 31 – Milwaukee, WI @ Miller High Life Theatre * September 1 – Cleveland, OH @ Jacobs Pavilion at Nautica * September 2 – Huber Heights, OH @ Rose Music Center @ The Heights * September 4 – Holmdel, NJ @ PNC Bank Arts Center * September 5 – New Haven, CT @ Westville Music Bowl * September 7 – Philadelphia, PA @ The Mann Center * September 9 – Forest Hills, NY @ Forest Hills Stadium * September 10 – Boston, MA @ Leader Bank Pavilion * September 11 – Washington, DC @ The Anthem *

* = w/ The Zappa Band

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In the Court of the Crimson King: King Crimson at 50

What began as a straightforward documentary about the cult rock band King Crimson as it turned 50, mutated into an exploration of time, death, family, and the transcendent power of music to ... Read all What began as a straightforward documentary about the cult rock band King Crimson as it turned 50, mutated into an exploration of time, death, family, and the transcendent power of music to change lives. But with jokes. What began as a straightforward documentary about the cult rock band King Crimson as it turned 50, mutated into an exploration of time, death, family, and the transcendent power of music to change lives. But with jokes.

Robert Fripp
Biff Blumfumgagnge
Bill Rieflin
19 User reviews
19 Critic reviews
80 Metascore
1 nomination

Self, Robert Fripp's Guitar Technician

(as Jakko Jakszyk)
self, Jakko M. Jakszyk's son
(as Django)
Self, stage technician for King Crimson

(archive footage)

self, Sister from Notre-Dame de Grâce, Oslo
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Production, box office & more at IMDbPro

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Squaring the Circle: The Story of Hipgnosis

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Trivia The original title for this film was "Cosmic FuKC. Prog rock pond scums set to bum you out."

User reviews 19

Mar 22, 2024
How long is In the Court of the Crimson King: King Crimson at 50? Powered by Alexa
October 22, 2022 (United States)
United Kingdom
Official film's website
In the Court of the Crimson King
Seattle, Washington, USA
Succulent Pictures
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Runtime 1 hour 26 minutes

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Concert Review: King Crimson “Music Is Our Friend” Tour – Delray Beach, FL

Review of King Crimson live at the Old School Square Pavilion, July 23rd, in Delray Beach, Florida.

By Nick Tate Venue: Delray Beach, FL – Old School Square July 25, 2021

Live photo by David Singleton

If Yes and Genesis were the most popular kids in prog-rock school, it’s been said, then Robert Fripp’s King Crimson was more like the weird savant in the back of the classroom who didn’t even try to fit in with the others. Crim’s reputation for nonconformity and unconventional brilliance was on full display during the second stop on its new “Music is Our Friend” North American tour at the Old School Square Pavilion Friday night in Delray Beach, Florida.

The two-hour concert – the second of 28 the newly reformed band will deliver this summer and fall – broke the mold and set a new bar for live rock shows, even by progressive rock standards: • There was not a word of between-song patter; no distracting over-the-top light show or annoying multimedia presentations; • The sound production was letter-perfect, with every lyric and note delivered with diamond-cut precision and crystal clarity; • And the seven-man lineup featured three drummers seated at the front of the stage, with Fripp and the other players on a raised platform behind them — a first in the annals of concert performances.

These breaks with rock-show tradition emphasized the sole focus of the evening: The challenging, experimental music that has been the band’s calling card since its seminal 1969 debut, In the Court of the Crimson King (arguably the first proper progressive rock album). The show opened with perhaps the most audacious surprise of the evening — a jaw-dropping rendition of “Drumzilla,” a triple-drum solo featuring all three stick men — Pat Mastelotto, Gavin Harrison and Jeremy Stacey. It was a dazzling selection from the Fripp toolbox that gamely answered the question: Why would Crim choose to tour with three drummers (and open the show with four solid minutes of percussive madness)?

The sophisticated arrangements and wild spontaneity of the propulsive opener combined Mastelotto’s wild electro-acoustic mastery with Harrison’s monstrous virtuosity and Stacey’s grounded letter-perfect timing. It was a delightful triple threat that demonstrated how six hands, six feet and three remarkable like-minded musos can produce a powerful and stirring noise. As the trio traded percussive accents and melodic licks, some in the crowd rose to their feet – in the first of many standing ovations of the evening.

From here, Fripp led the band through more than a dozen Crim favorites and rarities, showcasing tracks from eight of the band’s 13 studio albums. The wide-ranging setlist spanned five decades of music, spotlighting each distinctive era of this legendary prog-rock collective. Fripp and friends paid tribute to King Crimson Mach I – the most melodic and symphonic era of the band – with three tracks from the debut album: “Epitaph,” “21st Century Schizoid Man” and “In the Court of the Crimson King.”

King Crimson Mach II – the band’s frighteningly experimental 1970s period — was amply showcased by “Pictures of a City” from 1970’s In the Wake of Poseidon, the title track from 1971’s Islands and two standouts from 1974’s Red, the title track and “Starless.”

The evening also featured a sampling of highpoints from the past four decades – including the knotty “Indiscipline” from 1981’s Discipline LP, “Neurotica” from 1982’s Beat, “Larks Tongues in Aspic Part 5 (Level 5)” from 2003’s The Power to Believe and the rarity “Radical Action to Unseat the Hold of Monkey Mind” from 2016. Most performances were loyal to the originals but allowed room for solos and variations that gave the older compositions in particular a new freshness and vigor.

Singer/guitarist Jakko Jakszyk masterfully handled the demands of reinventing the wildly varying vocal styles of former Crim singers (Greg Lake, John Wetton and Adrian Belew). Mel Collins delivered fanciful sax and flute solos that were more than mere embellishments. And bassist Tony Levin held it all together, simultaneously anchoring and elevating the overall sound from the stage.

Through it all, Fripp was a stoic ringmaster, standing stiffly stage left – almost in the wings. Looking more like a lawyer than a rock star — in crisp white shirt, black tie and vest – he never spoke a word and rarely cracked a smile. But, as ever, he let his guitar do the talking – his sustain-on-steroids solos cutting through the complex turbulence of that signature King Crimson sound – heartbreakingly beautiful and breathtakingly executed.

The result was a delightful retrospective that managed to have both the ring of familiarity and also feature Crim’s characteristic knack for delivering musical results that are consistently unexpected.

Worth noting: Four songs into the outdoor concert, the skies opened up, delivering a torrential downpour – sending many in the audience to run for cover. Minutes later, as if on cue, Jakszyk delivered the signature line from “Islands” — “Field and glade wait only for rain” – provoking some laughter from the drenched fans up front.

But here’s the kicker: Despite the heavy rainstorm, very few concertgoers left the venue for drier surroundings. This revealed, as much as anything, how captivating and enchanting the music of King Crimson remains after all these years.

Near the end of the second set, Jakszyk once again seemed to channel the spirit of the crowd, voicing the lyrics from “Indiscipline,” which pretty much explain the staying power of these pioneering prog rockers: “The fact is… No matter how closely I study it No matter how I take it apart No matter how I’ll break it down It remains consistent I wish you were here to see it!”

Setlist: https://www.setlist.fm/setlist/king-crimson/2021/the-pavilion-at-old-school-square-delray-beach-fl-6b8fcec2.html

King Crimson announce “Music Is Our Friend” North American Tour Dates 2021

i was there! was an incredible show even when in the middle, a sudden rain was pouring over the crowd. perfect sound, amazing drummer’s trio and the magic to listen to them one more time!

I could not have said it better…We seen them in Lewiston N.Y. @ Artpark…..Totally blown away by the music & your spot on with the no banter in between songs….Nothing but pure music…..

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King Crimson guitar mastermind Robert Fripp brings Q&A tour to Bay Area

By Dave Pehling

Updated on: February 22, 2024 / 9:33 AM PST / CBS San Francisco

British progressive rock guitar giant and sole constant in the legendary band King Crimson brings his current Englishmen Abroad Tour with production and business partner David Singleton to Northern California this weekend, taking questions from fans.

Over half century ago, King Crimson fired off one of the first shots in the progressive-rock revolution with the mellotron-heavy pomp and fantasy-laden lyrics of their 1969 debut, In the Court of the Crimson King . Formed from the ashes of the psychedelic pop band Giles, Giles and Fripp, the group made an auspicious live debut a few months before the album's release, playing the a massive concert headlined by the Rolling Stones in London's Hyde Park in front of 500,000 people.

Injected with elements of pastoral folk, frenetic jazz -- the dizzying tandem saxophone and Fripp's fuzz guitar lines on the classic "21st Century Schizoid Man" -- and modern-classical dissonance, the album set a new standard for ambitious rock as art and spawned legions of imitators.

But while British contemporaries like Yes and Genesis later got bogged down with ponderous concept albums, Fripp and his ever-changing cast of collaborators explored much denser, darker and more experimental territory. The band's searing efforts Larks Tongues in Aspic and Starless and Bible Black featuring Yes drummer Bill Bruford -- who was poached from Yes at the height of their popularity -- drew much more heavily on improvisation with violinist David Cross and percussionist Jamie Muir, who had worked extensively with English free-jazz players Derek Bailey and Evan Parker. The band pushed boundaries with angular experimentation and challenging time signatures that later influence such alternative-rock mainstays as Primus and Tool (who invited the band out on tour in 2001).

After dissolving the band in 1974 following the release of the stunning masterpiece Red , Fripp concentrated on collaborations with the likes of Brian Eno, David Bowie and Peter Gabriel as well as his solo guitar experiments with tape looping he dubbed "Frippertronics" before finally reviving the group in 1981. With a brash new line-up featuring Bruford, accomplished session bassist and Chapman Stick player Tony Levin (Peter Gabriel, John Lennon, Paul Simon) and fellow guitar phenom Adrian Belew -- who had played with Bowie, Frank Zappa and the Talking Heads -- Fripp and the new King Crimson recorded three critically celebrated albums that touched on new-wave, minimalist composition and Indonesian gamelan music before Fripp again put the group on hiatus.

ALSO READ: CBS SF Talks To King Crimson Bassist Tony Levin (Sept. 2019)

That break would last almost a decade before the iconic guitarist reconvened the musicians with an ambitious "double trio" version of the group that added Chapman Stick/WARR guitar player Trey Gunn and drummer Pat Mastelotto that toured and recorded to wide acclaim. Crimson would have one of its most productive periods over the next decade with the players assembling in a variety of offshoot side "ProjeKcts" for tours focused more on improvisation in the late '90s before a return to a quartet line-up and a heavier guitar sound for The ConstruKction of Light in 2000 and The Power To Believe three years later.

While there were some concerns that Fripp might have put the band to bed permanently after claiming he was retiring from the music industry in a 2012 interview, the guitarist surprised fans in 2013 when he announced a new seven-piece version of King Crimson with three drummers and players from throughout the band's 40-year career arc. With Mastelotto, late 2000s drummer Gavin Harrison (best known as a member of modern prog rockers Porcupine Tree) and former Ministry/KMFDM/R.E.M. drummer Bill Rieflin in a percussive frontline joined by Fripp, Levin, '70s era saxophonist Mel Collins and new addition Jakko Jakszyk on guitars and vocals.

The Mark VII version of King Crimson has been wowing audiences with fiery performances that have featured revamped and dramatically rearranged takes on songs from the band's early albums that hadn't been performed in decades.

The group has toured steadily since then, releasing a string of acclaimed live recordings of the group through a couple of line-up shifts -- it expanded to a "double quartet" for a time with the addition of drummer Jeremy Stacey and Rieflin also covering keyboards, though he would take a break from touring with the band due to health issues in 2019. Sadly, Rieflin died from cancer in March 2020.

In 2019, Fripp and company announced an expansive set of vinyl and CD reissues of the back catalog of albums to mark King Crimson's 50th anniversary -- including the significant move of making the band's music available on streaming services for the first time -- as well as a tour spanning three continents over the course of 50 concert dates.

While the pandemic cancelled another extensive King Crimson jaunt planned for 2020 -- along with all live, in-person entertainment for the better part of 18 months -- Fripp would stay busy during the global shutdown, showing off a rarely seen playful and irreverent side with a series of cover-song duets with his wife Toyah Wilcox posted on her YouTube channel .

Covering a wide gamut of music ranging from '60s nuggets, '70s radio standards, '80s metal and modern pop hits, the cover songs have earned the couple an entirely new audience, with some clips garnering millions of views.

King Crimson made what is likely its final Bay Area appearance at the Concord Pavilion in 2021 alongside Fripp disciples the California Guitar Trio and the Zappa Band, with the group playing its last live concerts in Japan later that year (thought there has been no official announcement of a break up). Fripp and the band were the subject of the acclaimed 2022 documentary "In the Court of the Crimson King. King Crimson at 50," a film that looked at the interpersonal challenges of maintaining an artistic venture for a half a century while following the band on the 2021 tour.

While the guitarist has been making festival and headlining appearances with his wife in the U.K., he has also embarked on several legs of a U.S. speaking tour with longtime production and business partner David Singleton. The pair established Discipline Global Mobile in 1992 as an independent record label to release Fripp and King Crimson's music, an enterprise that has become a model for artist-owned imprints with its extensive reissue campaign and early embrace of downloadable music. The Englishmen Abroad Tour gives fans a chance to ask the duo questions about Crimson as well as Fripp's other collaborations and unique approach to making music. The tour presented in partnership with concert promoter (((folkYEAH!))) makes stops at Santa Cruz and Sacramento before hitting the Chapel in San Francisco on Sunday.

An Evening with Robert Fripp and David Singleton: Englishmen Abroad

Friday, Feb. 23, 7:30 p.m. $68.25-$78.75 Kuumbwa Jazz Center

Saturday, Feb. 24, 7 p.m. $45-$55 The Sophia

Sunday, Feb. 25, 6 p.m. $60-$85 The Chapel

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The supergroup BEAT has received support from Robert Fripp

This fall, a new tribute to the music of progessive rock godfathers King Crimson is coming to a city near you. Bassist Tony Levin and guitarist/vocalist Adrian Belew, both longtime members of the group, are hitting the road in September with their new outfit, BEAT. Joining them will be guitar virtuoso Steve Vai and Tool drummer Danny Carey. The lengthy trek kicks off on September 12 at the San Jose Civic Center in San Jose, California and wraps up on November 8 at the The Theater at Virgin Hotels in Las Vegas Nevada.

The run will see the quartet stop at The Warner Theatre in Washington, DC, Hard Rock Live in Orlando, Florida, The Beacon Theatre in New York, New York, Massey Hall in Toronto, Ontario, the Santander Performing Arts Center in Reading, Pennsylvania, and more. The performance will see the supergroup reimagine three of the band’s classic albums from the 1980s: Discipline , Beat , and Three of a Perfect Pair .

In a statement, guitarist Steve Vai also hinted that some other choice cuts from the band’s discography could make the setlist.

“The 1981 through 1984 King Crimson created a music all its own,” Belew says. “Timeless. Beautiful. Complex. Fierce. For the fans who lived through it then, and the ones who never got to witness it, our aim is to bring it to life again. A monumental task but we’re going for it! There are not enough exclamation points to express my excitement!”

Vai adds, “Being a part of this ensemble is an extraordinary privilege and opportunity to perform some of the most beloved, timeless, and monumental music of the ’80s (and beyond) with truly inspired musicians. This music resonates deeply with me. I can assure the fans of KC that we will be putting our best foot forward to respect this great music with the care and intensity it deserves.”

“I am very excited to share the stage with three of my favorite musicians on the planet,” Carey states. “Tony, Steve and Adrian have always been a source of inspiration for me since the beginning of my career, and now to be able to share a bit of my musical journey with them is a dream come true.”

BEAT have also garnered the approval of King Crimson founder, Robert Fripp.

“This is the project that Adrian Belew called me about last Autumn, a project which I support and fully encourage, and discussed with Steve Vai recently at McCabes in Santa Monica,” Fripp shared on his official Facebook . Even, I suggested the name.”

September 12 – San Jose, CA – San Jose Civic September 13 – Napa, CA – Blue Note Napa Summer Sessions at Meritage Resort September 14 – Los Angeles, CA – The United Theater on Broadway September 15 – Anaheim, CA – City National Grove of Anaheim September 17 – San Diego, CA – Humphrey’s Concerts September 18 – Phoenix, AZ – Celebrity Theatre September 20 – Austin, TX – The Paramount Theatre September 21 – Houston, TX – Bayou Music Centre September 22 – Dallas, TX – Majestic Theatre September 24 – Atlanta, GA – The Eastern September 26 – Fort Lauderdale, FL – The Parker September 27 – Orlando, FL – Hard Rock Live September 28 – Clearwater, FL – Ruth Eckerd Hall September 29 – Charleston, SC – Charleston Music Hall October 1 – Charlotte, NC – Knight Theater October 2 – Durham, NC – Carolina Theatre of Durham October 4 – Washington, DC- Warner Theatre October 5 – New York, NY – Beacon Theatre October 6 – Glenside, PA – Keswick Theatre October 8 – Richmond, VA – Carpenter Theater in Dominion Energy Center October 9 – Red Bank, NJ – Count Basie Center October 11 – Boston, MA – Shubert Theatre October 12 – Hampton Beach, NH – Hampton Beach Casino Ballroom October 14 – Halifax, NS – Rebecca Cohen Auditorium October 15 – Moncton, NB – Casino New Brunswick October 17 – Montreal, QC – Maisonneuve Theatre October 18 – Toronto, ON – Massey Hall October 19 – Rochester, NY – Kodak Center October 21 – Albany, NY – The Egg October 22 – Greensburg, PA – Palace Theatre October 23 – Reading, PA – Santander Performing Arts Center October 25 – Cleveland, OH – Agora Theatre October 26 – Cincinnati, OH – Taft Theatre October 27 – Royal Oak, MI – Royal Oak Music Theatre October 28 – Nashville, TN – Ryman Auditorium October 30 – Indianapolis, IN – Murat Theatre November 1 – Chicago, IL – Copernicus Center November2 – Milwaukee, WI – Pabst Theatre November 3 – Madison, WI – Orpheum Theater November 4 – Minneapolis, MN – State Theatre November 6 – Denver, CO – Paramount Theatre November 8 – Las Vegas, NV – The Theater at Virgin Hotels

Privacy Overview

King Crimson
Robert Fripp
Discography

"A function of language is to disclose. An effect is to reveal."

The Complete 1969 Recordings

The complete audio history of one of the most important debut albums of all time presented across 26 discs (20CD/4Blu-Ray/1DVD/1DVD-A).

The complete audio history of one of the most important debut albums of all time presented across 26...

Music Is Our Friend 3LP set

Limited edition 3LP set on 200gram Super-Heavyweight vinyl. King Crimson’s final US concert in Washington, DC (Sept 2021) and 4 additional tracks from Albany, New York (August 2021) available on vinyl for the first time.

Limited edition 3LP set on 200gram Super-Heavyweight vinyl. King Crimson’s final US concert in Was...

McDonald and Giles LP

This is the first official release of the album on vinyl in decades and the first time since 1970 that the album has been cut from the original masters.

This is the first official release of the album on vinyl in decades and the first time since 1970 th...

Let The Power Fall vinyl

Let The Power Fall is the only full album of Frippertronics released during the original vinyl era and within two years of the original tour of shops/offices/restaurants that acted as venues for the concerts.

Let The Power Fall is the only full album of Frippertronics released during the original vinyl era a...

Music For Quiet Moments

In May 2020, with much of the world in lockdown and reeling from the consequences of the Covid-19 pandemic, Robert Fripp began uploading the first of 52 individual Soundscapes on his YouTube channel, streaming platforms, and DGMLive.

In May 2020, with much of the world in lockdown and reeling from the consequences of the Covid-19 pa...

Robert Fripp Exposures

One of the most comprehensive boxed sets devoted to a single period of an artist’s career, Exposures features the complete collection of Robert Fripp’s studio and live solo material from 1977-1983, covering the period from the first Exposure sessions to the end of The League of Gentlemen and final Frippertronics concerts.

One of the most comprehensive boxed sets devoted to a single period of an artist’s career, Exposur...

In The Court Of The Crimson King - 3CD Blu-ray

50th anniversary 3CD/Blu-ray edition of King Crimson’s seminal debut

Beat 40th anniversary vinyl

40th anniversary stereo mix by Steven Wilson and Robert Fripp of King Crimson’s sparkling 1982 release, Beat. On 200g super-heavyweight vinyl for the first time. Mastered by Jason Mitchell at Loud Mastering from original studio masters.

40th anniversary stereo mix by Steven Wilson and Robert Fripp of King Crimson’s sparkling 1982 rel...

Discipline 40th anniversary vinyl

40th anniversary stereo mix by Steven Wilson and Robert Fripp of King Crimson’s innovative 1981 release, Discipline. On 200g super-heavyweight vinyl for the first time. Mastered by Jason Mitchell at Loud Mastering from original studio masters.

40th anniversary stereo mix by Steven Wilson and Robert Fripp of King Crimson’s innovative 1981 re...

God Save The Queen/Under Heavy Manners vinyl

Containing one side of Frippertronics and another - featuring David Byrne plus a rhythm section of Busta Jones and Paul Duskin - of what came to be referred to Discotronics, the album provides a fascinating snapshot of Fripp's creative endeavours during the Post-Punk era.

Containing one side of Frippertronics and another - featuring David Byrne plus a rhythm section of B...

The Grid/Fripp Leviathan vinyl

A 2021 collaborative album from electronic duo The Grid (aka Richard Norris and Dave Ball) and Robert Fripp, combining Fripp Soundscapes with synth, drums, programming and effects by The Grid.

A 2021 collaborative album from electronic duo The Grid (aka Richard Norris and Dave Ball) and Rober...

Three Of A Perfect Pair 40th anniversary vinyl

40th anniversary stereo mix by Steven Wilson and Robert Fripp of King Crimson’s dazzling 1984 release, Three Of A Perfect Pair. On 200g super-heavyweight vinyl for the first time. Mastered by Jason Mitchell at Loud Mastering from original studio masters.

40th anniversary stereo mix by Steven Wilson and Robert Fripp of King Crimson’s dazzling 1984 rele...

King Crimson At 50 DVD Blu-ray

A two disc Blu-Ray/DVD edition of Toby Amies' superb documentary In The Court Of The Crimson King - King Crimson at 50 including the full documentary film, an edit from an early version of the film, the final performance of Starless from the band’s final concert in Tokyo (in December 2021) and four trailers/shorts.

A two disc Blu-Ray/DVD edition of Toby Amies' superb documentary In The Court Of The Crimson King - ...

In The Court Of The Crimson King - King Crimson At 50 8 disc boxed set

An 8 disc (2Blu-Ray/2DVD/4CD) box set edition of Toby Amies' superb documentary In The Court Of The Crimson King - King Crimson at 50 including the full documentary film, an edit from an early version of the film, live and studio performances from the 50th anniversary tour, and an abundance of additional footage.

An 8 disc (2Blu-Ray/2DVD/4CD) box set edition of Toby Amies' superb documentary In The Court Of The ...

Washington Square Church vinyl

Recorded in New York City between July & August 1981, these are perhaps the finest example of Frippertronics in performance.

Recorded in New York City between July & August 1981, these are perhaps the finest example of Frippe...

Larks' Tongues In Aspic 2CD 2 Blu-ray

50th Anniversary, Complete Recording Sessions, Dolby Atmos, 2023 Mixes

Earthbound vinyl

Earthbound, originally released in 1972, was one of the earliest (if not the first) “official bootleg” released by a major rock band, consisting of a series of deliberately lo-fi live recordings of King Crimson’s Islands era line-up on tour in the USA.

Earthbound, originally released in 1972, was one of the earliest (if not the first) “official boot...

Larks' Tongues In Aspic 2LP 2023 Mixes

Larks' Tongues In Aspic 2LP Edition 2023 Mixes

Let The Power Fall CD

READ FULL ARTICLE

The Guitar Circle

The Music Business

Liner Notes

On The Vicar

Kicking The Wasps' Nest

DGM Universe

Crimson Commentaries

Staying Sane on the Road

How can we do extraordinary things

How Awful is He

Recording Frippertonics

The thinking behind DGM Ltd

Advice for those slaving away in studios

The Role of the Manager

Fripp pays tribute to Wetton

Favourite Part of the Week

Balancing Different Instincts

What is Music

Do you Take Yourself too Seriously

Supporting Toyah

Becoming a Better Listener

Differences of Opinion

Live in Toronto

King Crimson Live in Toronto 20th November 2015

The Light of Day

A welcome to the new DGMLive website

Robert Fripp String Quintet

T-shirt designed by Ben singleton based on King Crimson's 1995 release, Dinosaur.

T-shirt of the back cover image for King Crimson's potent 1974 release Red. Also available as two-sided T-shirt, including the front cover. Shop stocks vary.

T-shirt of the back cover image for King Crimson's potent 1974 release Red. Also available as two...

Three of a Perfect Pair

T-shirt from King Crimson's Three of a Perfect Pair 1984 release. Also available in long-sleeve and baseball tee style.

T-shirt from King Crimson's Three of a Perfect Pair 1984 release. Also available in long-sleeve and...

Starless and Bible Black

T-shirt from the cover art of King Crimson's classic1974 release, Starless and Bible Black. Also available in long-sleeve. Shop stocks vary.

T-shirt from the cover art of King Crimson's classic1974 release, Starless and Bible Black. Also...

Larks Tongues in Aspic

T-shirt from the debut album of King Crimson's third incarnation, Larks Tongues in Aspic. This iconic t-shirt is available in a range of colours and styles. Shop stocks vary.

T-shirt from the debut album of King Crimson's third incarnation, Larks Tongues in Aspic. This...

Indiscipline

T-shirt designed by Ben Singleton from King Crimson's 'indiscipline' release. Containing Adrian Belew's classic lyrics, "I repeat myself when under Stress."

T-shirt designed by Ben Singleton from King Crimson's 'indiscipline' release. Containing Adrian...

In the Court of the Crimson King

T-shirt of the classic album cover available in black and white, long and short-sleeves, plain and distressed.

T-shirt of the classic album cover available in black and white, long and short-sleeves, plain and...

In The Court Of The Crimson King

T-shirt of the classic album cover now available in a wrap-around.

T-shirt of Steve Ball's knotwork for King Crimson's1981album, Discipline. Also available in black and long-sleeve. Shop stocks vary.

T-shirt of Steve Ball's knotwork for King Crimson's1981album, Discipline. Also available in black...

T-shirt from King Crimson's 1982 release, Beat. Stocks vary across UK and US sites.

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King Crimson Tickets

King crimson tour 2024.

The tickets for King Crimson concerts are already available.

The music event that is going to shook everybody this year is definitely the new King Crimson tour. The evidence for that is very clear. A big number of fans are gathering at these concerts for one single purpose – to enjoy the gift of music. Thousands of people are coming to huge concert halls and arenas just to see their favorite performer and listen to memorable hits. Thousands of people will be gathering around just to witness a star performing on stage.

Everybody can now experience an incredible show from their favorite performer. This is going to be the most interesting tour of the year by far, and this is the best place to get your tickets right now. Is there a fan that wouldn’t appreciate front row tickets for an affordable price?

It would be difficult to find a better way to enjoy music. The quality and energy of such events cannot be translated through a TV screen. Thousands of people are coming together like one big family just to share their experience and love for the performer. Simply check the concert’s details and see whether that’s exactly what you have been looking for.

We make sure to offer the most competitive prices for tickets for different concerts. In addition, you can choose tickets based on your seat preference. With us it is much easier to follow the King Crimson schedule and see where the next concert will take place. Affordable tickets are always sold out quickly, so just make a note in your calendar and contact us as soon as the tickets become available.

Make sure not to miss the concert when your favorite band arrives to your hometown. We will provide you with our exclusive offers and tickets at a great price. Getting your tickets in advance is always cheaper and more convenient and with us you will get your tickets for the King Crimson 2024 tour very quickly!

King Crimson Tickets 2024

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King Crimson VIP Packages 2024

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About King Crimson

King Crimson are an English progressive rock band formed in London in 1968. King Crimson have been influential both on the early 1970s progressive rock movement and many contemporary artists. The band has undergone numerous formations throughout its history; Robert Fripp is the only constant member of the group and is considered the band's leader and driving creative force. The band has earned a large cult following. They were ranked No. 87 on VH1's 100 Greatest Artists of Hard Rock . Although considered to be a seminal progressive rock band (a genre characterised by extended instrumental sections and complex song structures), they have often distanced themselves from the genre: as well as influencing several generations of progressive and psychedelic rock bands, they have also been an influence on subsequent alternative metal, hardcore and experimental/noise musicians.

Developed from the unsuccessful psychedelic pop trio Giles, Giles and Fripp, the initial King Crimson were key to the formation of early progressive rock, strongly influencing and altering the music of contemporaries such as Yes and Genesis. Their debut album, In the Court of the Crimson King (1969), remains their most successful and influential release, with its elements of jazz, classical and experimental music. Their success increased following an opening act performance for the Rolling Stones at Hyde Park, London, in 1969. Following In the Wake of Poseidon (1970) and the less successful chamber jazz-inspired Lizard (1970), and Islands (1971), the group reformatted and changed their instrumentation (swapping out saxophone in favour of violin and unusual percussion) in order to develop their own take on European rock improvisation, reaching a new creative peak on Larks' Tongues in Aspic (1973), Starless and Bible Black (1974) and Red (1974). Fripp disbanded the group in 1974.

In 1981, King Crimson reformed with another change in musical direction and instrumentation (incorporating, for the first time, a mixture of British and American personnel plus doubled guitar and influences taken from gamelan, post-punk and New York minimalism). This lasted for three years, resulting in the trio of albums Discipline (1981), Beat (1982) and Three of a Perfect Pair (1984). Following a decade-long hiatus, Fripp revived the group as an expanded "Double Trio" sextet in 1994, mingling its mid-‘70s and 1980s approaches with new creative options available via MIDI technology. This resulted in another three-year cycle of activity including the release of Thrak (1995). King Crimson reunited again in 2000 as a more alternative metal-oriented quartet (or "Double Duo"), releasing The Construkction of Light in 2000 and The Power to Believe in 2003: after further personnel shuffles, the band expanded to a double-drummer quintet for a 2008 tour celebrating their 40th anniversary.

Following another hiatus between 2009 and 2012, King Crimson reformed once again in 2013; this time as a septet (and, later, octet) with an unusual three-drumkit frontline and the return of saxophone/flute to the lineup for the first time since 1972. This current version of King Crimson has continued to tour and to release live albums, significantly rearranging and reinterpreting music from across the band's career.

Since 1997, several musicians have pursued aspects of the band's work and approaches through a series of related bands collectively referred to as ProjeKcts.

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Former King Crimson Members Form Beat, Announce 2024 Tour

P rog-rock band King Crimson may have disbanded decades ago, but that hasn’t stopped a few former members from forming their own supergroup. Adrian Belew (former King Crimson guitarist and vocalist) and Tony Levin (former King Crimson bassist) have formed a new group called Beat with Tool drummer Danny Carey and famed guitarist Steve Vai. The band’s namesake comes from King Crimson’s 1982 album Beat . And yes, if you’re wondering, KC frontman Robert Fripp has given his full endorsement for the project.

Less than a month after forming, the band has just announced a North American tour that’s set to kick off in September. The supergroup will perform across the US and Canada well into November. No supporting acts have been announced.

The Beat 2024 Tour will start on September 12 in San Jose, California at San Jose Civic. The tour will end on November 8 in Las Vegas, Nevada at The Theater at Virgin Hotels.

The main ticketing platform for the Beat 2024 Tour is going to be Ticketmaster , and there are a ton of different presale events going on right now. If you want in on the artist presale specifically, use the code “BEATTOUR”.

General on-sale kicks off on April 5 at 10:00 am local. If the presale event sells out your tour date of choice, give Stubhub a try. It’s a great platform for finding after-sale tickets, and your purchase will be guaranteed by the FanProtect Program. No scams here!

Get your tickets now before they sell out!

Beat 2024 Tour Dates

September 12 – San Jose, CA – San Jose Civic

September 13 – Napa, CA – Blue Note Napa Summer Sessions at Meritage Resort

September 14 – Los Angeles, CA – The United Theater on Broadway

September 15 – Anaheim, CA – City National Grove of Anaheim

September 17 – San Diego, CA – Humphrey’s Concerts

September 18 – Phoenix, AZ – Celebrity Theatre

September 20 – Austin, TX – The Paramount Theatre

September 21 – Houston, TX – Bayou Music Centre

September 22 – Dallas, TX – Majestic Theatre

September 24 – Atlanta, GA – The Eastern

September 26 – Fort Lauderdale, FL – The Parker

September 27 – Orlando, FL – Hard Rock Live

September 28 – Clearwater, FL – Ruth Eckerd Hall

September 29 – Charleston, SC – Charleston Music Hall

October 1 – Charlotte, NC – Knight Theater

October 2 – Durham, NC – Carolina Theatre of Durham / Fletcher Hall

October 4 – Washington, D.C. – Warner Theatre

October 5 – New York, NY – Beacon Theatre

October 6 – Glenside, PA – Keswick Theatre

October 8 – Richmond, VA – Carpenter Theater in Dominion Energy Center

October 9 – Red Bank, NJ – Count Basie Center

October 11 – Boston, MA – Shubert Theatre

October 12 – Hampton Beach, NH – Hampton Beach Casino Ballroom

October 14 – Halifax, NS – Rebecca Cohen Auditorium

October 15 – Moncton, NB – Casino New Brunswick

October 17 – Montreal, QC – Maisonneuve Theatre

October 18 – Toronto, ON – Massey Hall

October 19 – Rochester, NY – Kodak Center

October 21 – Albany, NY – The Egg

October 22 – Greensburg, PA – Palace Theatre

October 23 – Reading, PA – Santander Performing Arts Center

October 25 – Cleveland, OH – Agora Theatre

October 26 – Cincinnati, OH – Taft Theatre

October 27 – Royal Oak, MI – Royal Oak Music Theatre

October 28 – Nashville, TN – Ryman Auditorium

October 30 – Indianapolis, IN – Murat Theatre

November 1 – Chicago, IL – Copernicus Center

November 2 – Milwaukee, WI – Pabst Theatre

November 3 – Madison, WI – Orpheum Theater

November 4 – Minneapolis, MN – State Theatre

November 6 – Denver, CO – Paramount Theatre

November 8 – Las Vegas, NV – The Theater at Virgin Hotels

Photo courtesy of Beat on Facebook

When you purchase through links on our site, we may earn an affiliate commission.

The post Former King Crimson Members Form Beat, Announce 2024 Tour appeared first on American Songwriter .

How Alvin Bragg Hitched His Fate to Trump’s

The Manhattan D.A. campaigned as the best candidate to go after the former president. Now he finds himself leading Trump’s first prosecution — and perhaps the only one before the November election.

Credit... Philip Montgomery for The New York Times

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By Kim Barker , Jonah E. Bromwich and Michael Rothfeld

Kim Barker, Jonah E. Bromwich and Michael Rothfeld interviewed more than 70 of Alvin Bragg’s friends and colleagues and legal and political experts for this article. Rothfeld and Bromwich have written extensively about the case against Trump; Barker, an investigations reporter, examined Bragg’s legal record.

April 9, 2024

Reporters vied for seats in the briefing room, some even crouching on the floor. They all knew, on this Tuesday in early April 2023, that Alvin L. Bragg, the Manhattan district attorney, was about to announce something momentous: the first criminal charges against a former American president.

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Yet when Bragg walked quietly onto the stage, it took a second or two for the audience to realize he was there. In his dark blue suit and dark-rimmed glasses, he blended into the dark blue curtains behind the lectern. He took out his notes and thanked everyone for coming. He was flanked by poster boards with flow charts, but that was as far as the showmanship went.

The accusations he went on to level against Donald J. Trump were salacious, involving money paid to a porn star just before the 2016 presidential election so she would remain silent about her claim that they had sex a decade before. But Bragg studiously avoided mentioning sex or hush money during the 13-minute event, focusing instead on 34 counts of falsifying business records to cover up the payment. Bragg looked frequently at his notes while he spoke, mostly in a monotone. He seemed unprepared (or unwilling) to answer the most obvious questions: why he had abandoned a different case, about whether Trump had falsified the valuations of properties, or why he thought he could make these new charges stick.

Bragg displayed passion only once, in response to a question about why he brought a hush-money case after his predecessor and federal prosecutors had not.

“This is the business capital of the world,” Bragg said, his voice rising. “We regularly do cases involving false business statements. The bedrock — in fact, the basis for business integrity and a well-functioning business marketplace — is true and accurate record-keeping. That’s the charge that’s brought here, falsifying New York State business records.”

True and accurate record-keeping. It’s hardly the stuff of history books. But a year later, it is this paperwork case — not the three other indictments that have dominated the news, involving accusations of trying to overturn a presidential election and mishandling highly classified documents — that will in the coming days make history as Trump’s first criminal trial, and perhaps the only one before the election in November.

Hardly anyone figured that it would play out this way. Bragg himself had said that “broader justice may warrant another case going first.” Yet with those other cases mired in legal skirmishing and delay, it is Bragg, a Harvard-trained prosecutor who has often appeared to be a most uncomfortable, un-media-savvy public figure, who will now face off against the reality-television star turned Republican former president, master of spin, media-ready insult and creation of his own narrative.

Bragg’s legal argument is complicated, but it stems from a simple episode: In the days before the 2016 election, Trump’s personal attorney and fixer, Michael D. Cohen, paid $130,000 in hush money to the adult-film star Stormy Daniels. Prosecutors argue that Trump, who denies that he had sex with Daniels, then lied on 34 business records — 12 ledger entries, 11 invoices and 11 checks — to disguise his repayment of Cohen as legal fees.

On its own, falsifying those documents would be misdemeanors, relatively minor crimes. Bragg elevated each of the charges to felonies by arguing that they were committed to hide or further another crime — which, in an unusual move, he did not charge. He said he wasn’t required to specify that crime, but added that it might have been a violation of state or federal election law. What may further complicate the case is that it relies heavily on testimony from Cohen, a disbarred lawyer who served prison time after pleading guilty to violating campaign-finance laws, evading taxes, making false statements to a bank and lying to Congress.

After the indictment, a chorus of critics — some but not all on the right — questioned the legal reasoning, wisdom and winnability of the hush-money case. Today, many experts believe that Bragg’s legal strategy looks considerably stronger, validated by a federal judge who rebuffed Trump’s effort to delay or even kill the case by having it moved to federal court, and by the Manhattan judge presiding over the case, who in February officially greenlit Bragg’s premise by setting a trial date.

None of which means the case has ceased to be controversial. The furor lives on, primarily in the political space. Trump and his allies have branded the case a witch hunt, a selective prosecution brought by a Democratic district attorney in the pocket of George Soros, boogeyman of the right. Many Democrats, in turn, worry that Trump’s narrative of persecution is only fueling his presidential campaign, especially because this case of sexual peccadillo and faked paperwork might look frivolous next to his three other indictments, which cut closer to his presidency and the foundations of American democracy.

“We’re all kind of like, ‘I can’t believe Alvin is at the center of this,’” says Erin E. Murphy, a New York University law professor who is part of Bragg’s close-knit friend group from law school and was one of more than 70 friends, colleagues and legal and political experts interviewed for this article. She adds: “He’s just so not political. He’s like, not a hyperpartisan political person in any way, shape or form. So there’s just this dissonance.”

Certainly, Bragg, who is 50, has never seemed to concern himself much with appearances. His friends have long joked about his wearing rumpled suits or a Boy Scout outfit on a date. If he could have applied for this job instead of campaigning for it, they say, he would have. That’s what he did when he became a federal prosecutor and then a deputy New York attorney general, each move a step forward in a life devoted to a careful, verging on nerdy, practice of the law; to the commitment to service — a word he has often used — that his parents instilled in him when he was growing up on Strivers’ Row in Harlem.

Bragg himself has seemed almost sheepish about the Trump case, preferring to talk about tackling wage theft or creating a jail-diversion program. Just after he announced the indictment last spring, his office sent out its regular roundup of big cases. It listed the Trump indictment not first, not even second, but third — after the convictions of two killers. The office’s 2023 highlights list didn’t even mention Trump. Bragg declined to comment for this article, concerned about being accused of unethical behavior before the trial.

Yet if Bragg the district attorney has been largely quiet about the former president, a look back through his record shows that hasn’t always been the case. Bragg the candidate, in fact, was more than willing to talk up his legal bona fides in the matter of Trump. Bragg may lack the polish and presentation of a politician. His friends may insist that he’s not a politician. But for all his lawyerly reticence, inside his sometimes-ill-fitting suits is a man of unmistakable ambition who has hitched his aspirations to the pursuit of Donald J. Trump.

Bragg’s emergence as a public critic of Trump came at a time when he was relatively unknown outside New York legal and Harvard-alumni circles. And it came in an unusual venue: a video, posted in May 2019 by the progressive news outlet NowThis and hosted by the flamboyantly public Trump hater Robert De Niro. In the video, Bragg and 10 other former federal prosecutors said they believed that Robert S. Mueller III’s investigation into Russian meddling in the 2016 presidential election had uncovered more than enough evidence to indict Trump. “This isn’t even a close case,” Bragg said.

Bragg was on a break from public service, teaching at New York Law School. But he was also just weeks from announcing his next move: his candidacy for Manhattan district attorney in an election still two years away.

The incumbent district attorney, Cyrus Vance Jr., had begun his own investigation of the president and his businesses. And even before Vance announced in March 2021 that he would not seek re-election, the race had become a referendum on who could best take on Trump. In a primary campaign of would-be Trump slayers, Bragg sold himself as the most experienced.

He talked about supervising the state investigation into the Trump Foundation as chief deputy attorney general in 2017 — a case that led to the charity’s closure. He said he knew how to prosecute fraud in the valuation of properties, one strand of Vance’s Trump investigation. Referring to Trump’s “criminal policies,” Bragg added, “He has embraced white nationalism, misconstrued data and engaged in cronyism, and the result has been a parade of horribles.” Bragg told The Wall Street Journal that he “certainly” had more experience with Trump “than most people in the world.” A rival Democrat’s spokeswoman complained that Bragg attacked Trump “for political advantage every chance he gets.”

Bragg also used Trump to contrast himself with Vance. The district attorney, he argued, had appeared soft on the rich and powerful, declining to prosecute two of Trump’s children several years earlier on accusations that they misled potential buyers in the struggling Trump SoHo condo-hotel. Vance had also met with one of Trump’s lawyers, Marc Kasowitz, and accepted his $32,000 campaign contribution just months after rejecting the Trump SoHo case. (Vance later returned the money.)

For Bragg, this was a break with lawyerly protocol — to be talking about a potential case before seeing all the facts, at the risk of appearing biased. Yet in this election cycle, and especially with Trump newly vulnerable after his 2020 loss, holding him to account seemed vital to being elected in Manhattan.

Bragg’s campaign was hardly all Trump. He also championed the sort of criminal-justice-reform issues — for example, ending long prison sentences for low-level street crimes — that had helped progressive prosecutors sweep into office nationwide. But he seemed to double down on Trump as the campaign went on, simplifying and exaggerating his record. “It is a fact that I have sued Trump over 100 times,” Bragg told The New York Times in April 2021, an often-repeated claim that would be published everywhere from CNN to the BBC. “I can’t change that fact, nor would I. That was important work.” Asked recently for documentation, a campaign spokesman, Richard Fife, sent links to more than 100 news releases. A review of these and court filings found 30 cases in which the New York attorney general’s office had sued Trump or his federal agencies during Bragg’s time there — nearly always alongside other states. (The office also joined 12 other ongoing lawsuits against the Trump administration, the analysis found.) As a top aide to the attorney general, Bragg could have supervised those cases, but taking personal credit seems a bit of a stretch.

The district attorney’s office referred questions about the lawsuits to Fife, who said Bragg’s comments were not written but made “in conversation.” (Bragg, in fact, did repeat the statement in a written candidate questionnaire.) “I will concede,” Fife said, “that our use of the word ‘suit’ isn’t as limited as your definition.”

In heavily Democratic Manhattan, primaries typically function as general elections. On Primary Day in June 2021, Bragg said on Twitter: “As Chief Deputy Attorney General of NY State, I oversaw a staff of 1200+ people delivering progressive change. I led the investigation into stop and frisk. I didn’t just sue Donald Trump and the Trump Foundation — I won.”

On Nov. 2, 2021, the night he trounced his Republican opponent, Bragg moved to the microphone at Harlem Tavern as supporters chanted: “Alvin! Alvin! Alvin!” His first public remarks were hardly memorable.

“Somewhere deep down inside, I think I always wanted a bar mitzvah,” said Bragg, who had long taught Sunday school at the nearby Abyssinian Baptist Church. “This is new for me, newly elected — I think I can say that now, right?” he asked the crowd, starting his speech. Then he paused, practically giddy, to interrupt himself: “Look, this is phenomenal.”

Bragg’s remarks made it clear that he saw his election as Manhattan’s first Black district attorney as the natural next chapter in the annals of his life. Walking to the tavern on Frederick Douglass Boulevard, Bragg told his supporters, his mind flipped back through a personal journey that began along this stretch of what neighborhood old-timers like himself still called Eighth Avenue: being dropped off at grade school by his parents; eventually taking the M10 bus there on his own; facing guns pointed at him by the police; graduating from high school. But that was not all. Bragg had one more memory to share.

“I had my first date with Jamila Ponton Bragg on 139th Street and Eighth Avenue,” he said. “And I was wearing a Boy Scout uniform, because I had just come from leading a troop at Abyssinian Baptist Church, and she still ate with me, and she married me!”

Bragg’s parents, Alvin Sr. and Sadie, raised him to move seamlessly between worlds. They attended church at Abyssinian, a stronghold of Black social-justice activism. But they also enrolled their only child as a kindergartner at the Trinity School, one of the city’s most exclusive private academies. Bragg, one of a handful of Black students, became the center of a tight-knit group of Trinity kids, friends who are still in his inner circle. “We always called him the mayor,” recalls John Scott, who met Bragg in middle school. “He was like the most gregarious and outgoing and charismatic guy, even back then.”

In a Trinity yearbook entry, Bragg quoted Aristotle, the Rev. Dr. Martin Luther King Jr., the music producer Quincy Jones — and himself: “You and I are like two stalks of corn in a field of love … waiting for the harvest.” (It was apparently an inside joke.)

Asked by a journalist during the campaign if he was nerdy, Bragg said: “I think yes and no. I think nerdiness is a little bit context-based.” He paused and added: “I think in any broad sense, yes.” The Rev. Al Sharpton, who supported Bragg’s campaign and praised his indictment of Trump, described him this way: “He’s not the larger-than-life swagger figure of Harlem. He is the result of what those generations produced: a competent, efficient guy.”

Growing up, Bragg’s friends say, he didn’t make a big fuss about the three times he remembered the police pulling guns on him on the Harlem streets. Once, several police cars converged on a taxi carrying Bragg and four Black friends; the officers, guns drawn, ordered everyone out. They told them they “fit the description” of some boys who had just committed a crime nearby, then held them for a few minutes before letting them go, recalls Roald Richards, one of the friends. (During the campaign, whenever Bragg brought up his encounters with the police, he would also mention the three times criminals pulled guns on him or would praise the police for keeping the streets safe.)

Yet if Bragg swallowed those experiences as a teenager, he has also described them as fuel for his ambition. He was elected president of his high school senior class; his yearbook described an imaginary 20-year reunion in which Bragg was president of the United States. While he was at college, The Harvard Crimson highlighted his ability as president of the Black Students Association to defuse tension between warring student groups. The headline: “The Anointed One.” Bragg’s role: “Conciliator.” He became such good friends with Republicans that, years later, one would actually donate money to his campaign — despite the fact that said Republican, Harry Wilson, would later run for governor of New York. At Harvard Law School, Bragg joined the team that won the prestigious moot-court competition. Even that makes his path seem preordained: It was the Archibald Cox team, named for the Watergate prosecutor who investigated President Richard M. Nixon.

Bragg started out as a lawyer in private practice representing, among other clients, Native American tribal members who said they had been abused by the police. But he soon became a prosecutor at the state attorney general’s office, explaining later that he felt he could make more of a difference from the inside. After three years, he left to become a lawyer at the New York City Council. Three years after that, he joined the U.S. attorney’s office in Manhattan. After four years there, he returned for a second tour at the attorney general’s office. It became a pattern: Bragg never stayed long enough to build a deep record. He seemed in a rush to get somewhere.

But in offices where head-down self-advancement was the norm, Bragg amassed friends and allies. It’s all but impossible to find anyone who worked with him who has a negative thing to say. He walked around, often slightly disheveled, messenger bag dangling and tie askew, smiled big and asked, “How are you?” Several colleagues recalled being struck by how deliberately he tested the strengths and weaknesses of evidence. “In every regard, he was one of the smartest people I’ve ever met, and meticulous,” says Joshua Gradinger, who worked under Bragg in the attorney general’s office. “I say that over and over again — meticulous.”

But as Bragg prepared to take office in 2022, a conflict was brewing: between his careful approach to the law and the promises he made during his political campaign.

Within days of becoming district attorney, Bragg announced his top policy priorities. From the recesses of his campaign website, he pulled a criminal-justice-reform manifesto outlining crimes that would no longer be prosecuted, including marijuana possession, trespassing and sex work. The Day 1 Memo, as it was called, also signaled that illegal gun possession would not mean jail time unless the gun was used in a violent crime.

The timing was less than ideal. During the pandemic, murders and shootings rose, and many New Yorkers seemed to believe that things were spiraling out of control. “Happy 2022, Criminals!” The New York Post blared, referring to Bragg as the “woke new Manhattan DA.”

Bragg’s ideas weren’t exactly radical. But his execution — announcing them as one of his first acts, in the biggest job of his life, without anticipating the backlash — made him look like a rookie, like someone who didn’t seem to fully grasp that he would be upsetting some of the very people he needed to do his job. The police commissioner rebuked him; police unions condemned him. Preet Bharara, a former U.S. attorney who had hired Bragg and then campaigned for him, was disappointed and frustrated by what he saw as an astonishingly clumsy rollout, according to people familiar with his thinking.

Bragg had another hangover from the campaign: the case of Tracy McCarter, a nurse accused of killing her husband. Vance had charged McCarter with second-degree murder in September 2020, even though she claimed self-defense and domestic abuse. Activists on social media had defended her. Bragg had weighed in. “I #StandWithTracy,” he tweeted on the day she was charged, using the hashtag pushed by McCarter’s backers. “Prosecuting a domestic violence survivor who acted in self-defense is unjust.”

Now, invested with the powers of the district attorney, Bragg had to decide whether he would indeed stand with McCarter. Pressing him to do so was a progressive group, Color of Change, whose political-action committee had endorsed him and pledged to spend more than $1 million supporting his campaign. It ultimately spent about $425,000, money that helped Bragg overcome his closest opponent’s last-minute rush of cash. (That financial link would become Republican ammunition: Within days of its Bragg endorsement, Color of Change received a $1 million donation from George Soros, the billionaire patron of liberal causes. After the Trump indictment, the former president and his allies pointed to it as evidence that Bragg was under Soros’s control.)

In November 2022, Bragg went into court himself — unusual for a sitting district attorney — to ask the judge to dismiss the McCarter case. “I understand the gravity of this decision,” he said, before lapsing into a jumble of legalese. Several days later, the judge, Diane Kiesel, dismissed the case but excoriated Bragg for what she called legal errors and potentially politically motivated decisions. The case, she wrote, “has reached the point where the public could perceive this dismissal as bought and paid for with campaign contributions and political capital.”

But in some ways, Bragg had started to get his footing, delivering on some of his campaign promises to take on the powerful and help the less fortunate. He prosecuted hate crimes against Asian Americans, exonerated a sixth defendant in the 1989 Central Park jogger case and pursued significantly fewer lower-level crimes than Vance had. He charged Stephen K. Bannon, Trump’s former political strategist, with money laundering and conspiracy for his role in a charity that skimmed from donations for a border wall, a case that has yet to go to trial. Bragg would also obtain indictments of two men with ties to a fellow Democrat, Mayor Eric Adams.

Still, Bragg seemed to be trying to thread the needle, looking for compromise as he had throughout his career. While he stopped demanding bail as often as Vance had, those decisions were often dictated by state bail reforms. His office also filed about 3,800 violent-felony cases in 2022, the most in 10 years, even as shootings and murders dropped, allowing Bragg to claim that his policies were working. But none of this would stop conservatives from grumbling that Bragg was a left-wing coddler of violent criminals, as a Republican prosecutor in Arizona would later do when she refused to extradite a murder suspect to New York.

By the end of his first year in office, Bragg had turned a corner. He had just won his biggest victory: convicting Trump’s company of tax fraud. Vance had filed the charges, but Bragg delivered on them. And finally, he was finding the way forward with Trump himself.

For more than two years, Cyrus Vance’s prosecutors had hunted for a winnable case against Trump. But while it wasn’t hard to find legally questionable behavior across Trump’s business empire, each possible case had a flaw.

The lawyers were intrigued by the hush-money case. Mark Pomerantz, a former federal prosecutor Vance had pulled out of retirement to pursue Trump, was among those who called it “the zombie case,” because it was alive, then dead, then alive again. Pomerantz thought the hush-money facts seemed incriminating, easy to explain to a jury. But he worried about persuading a judge that the misdemeanor charges of falsifying business records — for disguising the hush-money repayment as legal fees — could be elevated to felonies.

Pomerantz, who had led the criminal division in the U.S. attorney’s office in Manhattan, was drawn to another option: Trump’s exaggerations of his net worth on financial statements submitted to banks. Trump wasn’t just boasting, Pomerantz argued. He was committing crimes.

Weeks before his term ended in December 2021, Vance brought together a group of experienced lawyers to evaluate the net-worth case. The group included two prosecutors who worked on the Mueller investigation, but it did not include the incoming district attorney; Bragg was not even told about the meeting. Regardless, Vance emerged with a plan. He would push ahead.

When Bragg took office that January, he needed to decide quickly whether to sign on to the case; prosecutors were already presenting evidence to a grand jury. But quickly wasn’t in Bragg’s nature. By month’s end, a frustrated Pomerantz sent Bragg an email that he would later write was “blunt, perhaps too blunt.” He told the new district attorney that he needed to “respect our judgment,” noted that it was “virtually impossible” to meet with him about the Trump case and scolded Bragg, who was two decades younger, for looking at his phone during one of their few meetings. Pomerantz later wrote that he had wondered if Bragg “was in over his head.”

But Bragg remained skeptical, according to people familiar with his thinking. He believed that there was no evidence tying Trump directly to a financial fraud; without it, he worried, he would not be able to prove Trump’s criminal intent. And prosecutors wanted a tour guide — a cooperating witness who knew the ins and outs of the crime. Michael Cohen was extremely willing, having broken with Trump, but he lacked intimate knowledge of the Trump Organization’s finances.

There were more meetings, more emails — but Bragg refused to bring the case on Pomerantz’s timeline. So in late February, Pomerantz and another lead prosecutor on the case quit — in spectacular fashion. Pomerantz’s resignation letter described Bragg’s decision as “a grave failure of justice.” He then wrote a book called “People vs. Donald Trump” that might as well have been called “Pomerantz vs. Bragg.” Pomerantz wrote that the investigation turned into “the legal equivalent of a plane crash” and accused Bragg of “pilot error.”

Bragg, for his part, said little — even when Pomerantz’s resignation letter became public, even when many of his liberal supporters complained that he had dropped the ball on Trump and even when critics lumped this decision together with the Day 1 Memo as some kind of proof that he wasn’t up to the job. For all of Bragg’s campaign rhetoric, those who know him insisted that he would never have indicted Trump without reviewing every piece of evidence. Plus, Bragg did not feel bound by Vance’s view of the case — he was the district attorney now.

“He doesn’t get the luxury of saying, ‘Well, Cy Vance said it’s OK,’” says Kim Foxx, a Bragg friend who is the state’s attorney in Chicago. “His name is on the door. His face is on the wall. He owes it to the case. He owes it to the potential defendant to do his due diligence.”

To the world, it might have looked as if the Trump case were dead. Bragg was no longer talking about Trump publicly. But he and three top aides had begun meeting regularly on the eighth floor of the district attorney’s office, going back through all the documents from the net-worth case. The Trump Organization’s chief financial officer, Allen Weisselberg, had already been indicted in the tax-fraud case; now he might be persuaded to plead guilty and cooperate against Trump in this one. And he might, perhaps, become a witness about another matter: the hush-money payment to Stormy Daniels.

Bragg kept returning to that payment. This case had a far cleaner narrative than the net-worth case, with clear evidence of Trump’s involvement; he had personally signed nine checks repaying Cohen. And Cohen was the perfect tour guide: He had paid Daniels in the first place. By the summer of 2022, Bragg was confident that he could convince a court that these misdemeanors should be elevated to felonies. He added prosecutors to the Trump team. The “zombie case” was alive.

A payoff to a porn star might seem like a trivial matter on which to hinge a historic prosecution of a man who later tried to overturn an election. But in late February, the Supreme Court further delayed the federal prosecution of Trump on charges of plotting to do just that, agreeing to decide whether he has immunity for acts taken as president. Trial dates for the other two cases — the federal classified-documents case in Florida and the state election-interference case in Georgia — seem at best months away.

So the hush-money case it is. Some legal experts initially deemed it shaky, largely because Bragg failed to specify the underlying crime that Trump intended to commit. Though the crime of falsifying business records is nominally a misdemeanor, the Manhattan district attorney’s office almost always charges it as a felony. Still, the Trump case stands apart. The Times could identify only two other felony cases in Manhattan over the past decade in which defendants were indicted on charges of falsifying business records but no other crime.

In an opinion piece in The Times soon after the Trump indictment, Jed Shugerman, a law professor at Boston University, called the case a “disaster” and a “legal embarrassment.” Some lawyers predicted that it would be kicked up to federal court and buried in delays, largely because it was related to a federal-election campaign. Some wondered how internal records could prove intent to defraud.

But in the following months, Bragg beat back legal challenges. He detailed the crimes that Trump was trying to conceal — violations of state and federal election law and state tax law. When Trump’s lawyers tried to move the case to federal court, the judge there, Alvin K. Hellerstein, rebuffed them, saying that the fact that the alleged fraud happened in a federal election was “not a basis” to move the case. Then the New York judge overseeing the case, Juan M. Merchan, ruled that Bragg’s prosecutors had presented “legally sufficient evidence” for the grand jury to reasonably find that Trump intended to defraud voters and the government. Some initial skeptics have come around, even if they believe that the legal questions surrounding the case will probably re-emerge in appeals.

Accounting for the weight of the moment, Bragg has increasingly cast the case as an attempt to subvert the 2016 presidential election. “The case is not — the core of it’s not — money for sex,” Bragg said in a radio interview in December. “We would say it’s about conspiring to corrupt a presidential election and then lying in New York business records to cover it up.”

Trump heads into the trial after a series of setbacks, both legal and financial. Relying on some of the same evidence that was pursued by Pomerantz, the New York attorney general, Letitia James, recently won a $454 million civil judgment against Trump for fraudulently inflating his net worth. He also owes an $83 million defamation award to the writer E. Jean Carroll. And in his pretrial rulings, Merchan has slapped Trump with a gag order and strictly circumscribed the arguments his lawyers will be allowed to make. Defense lawyers have signaled that their case will most likely focus on attacking Michael Cohen as a serial liar who cannot be trusted and arguing that prosecutors have little evidence of Trump’s intent to commit a crime.

If Trump is convicted, he faces limited personal jeopardy, at least in the near term; any penalty — a maximum of four years in prison — would probably be deferred by his almost-certain appeal. The far-larger questions as the trial and the Trump-Biden rematch converge are about political jeopardy, or political advantage. Republican strategists believe, and some of their Democratic counterparts fret, that an acquittal or a hung jury will energize Trump, while he could more convincingly write off a conviction than with the other cases. “I can’t imagine anything easier to paint as a partisan witch hunt,” says Whit Ayres, a veteran Republican pollster.

Even so, some Democrats argue that wall-to-wall coverage of the trial will remind voters on the fence — like the moderate Republicans Trump needs to win — that he has been accused of having sex with a porn star while his wife cared for their infant son and then covering it up to win a presidential election. “The world’s going to stop for this,” says James Carville, the longtime Democratic strategist. “I mean, the first criminal trial ever of a president? I think if anything, the significance of this event is not yet fully appreciated.”

On the morning of Feb. 15, Bragg was back in the dingy courtroom where Trump was first arraigned. The district attorney, this time wearing a well-fitted gray suit, sat on a hard wooden bench in the second row, behind the team of prosecutors he had assembled. Walkie-talkies crackled, signaling the arrival of the former president. In a dirty hallway crammed with Secret Service agents, Trump spoke to television cameras. He said his lawyers would ask to delay the case — then he walked in, wearing a slightly rumpled navy suit and a screaming red tie.

In the courtroom, an unusually subdued Trump stared at the ceiling, arms at his sides. But once the trial date was set, Bragg didn’t seem to focus on Trump or on discussions about jury selection and trial exhibits. He bent over the judge’s decision declining to dismiss the case, reading it slowly, carefully. After the hearing, he released a brief statement, pronouncing himself “pleased.” Pleased . His spokeswoman confessed later that it was a struggle to get him to say even that.

Susan Beachy and Julie Tate contributed research.

Read by Emily Woo Zeller

Narration produced by Emma Kehlbeck and Krish Seenivasan

Engineered by David Mason

Kim Barker is a Times reporter writing in-depth stories about national issues. More about Kim Barker

Jonah E. Bromwich covers criminal justice in New York, with a focus on the Manhattan district attorney's office, state criminal courts in Manhattan and New York City's jails. More about Jonah E. Bromwich

Michael Rothfeld is an investigative reporter in New York, writing in-depth stories focused on the city’s government, business and personalities. More about Michael Rothfeld

Our Coverage of the Trump Hush-Money Case

The manhattan district attorney has filed charges against former president donald trump over a hush-money payment to a porn star on the eve of the 2016 election..

Taking the Case to Trial: Trump is all but certain to become the first former U.S. president to stand trial on criminal charges after a judge denied his effort to delay the proceeding and confirmed it will begin on April 15 .

Implications for Trump: As the case goes to trial, the former president’s inner circle sees a silver lining in the timing. But Trump wouldn’t be able to pardon himself should he become president again as he could if found guilty in the federal cases against him.

Michael Cohen: Trump’s former fixer was not an essential witness in the former president’s civil fraud trial in New York that concluded in January. But he will be when he takes the stand in the hush-money case .

Stormy Daniels: The chain of events flowing from a 2006 encounter that the adult film star said she had with Trump has led to the brink of a historic trial. Here's a look inside the hush-money payout .

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