KING CRIMSON SONGBOOK, VOLUME ONE

This has to be the most unique and unexpected (and maybe the coolest) album yet released within the extended KING CRIMSON family. Erstwhile Crimson drummer Ian Wallace, from the unfairly maligned early '70s "Islands" line-up of the band, was the catalyst behind what must have seemed at first a crackpot idea: new interpretations (not merely covers, please take note) of eight classic Crim songs, played by an (almost) acoustic, traditional jazz trio.

Of course the earliest versions of King Crimson always had a heart of jazz. But this set takes some unlikely tracks from all over the greater Crim discography (up to and including the spiky post-Prog of 1984's "Three of a Perfect Pair"), and recalibrates them into entirely new and remarkably fresh compositions. Even the monster-metal signature riffs of "21st Century Schizoid Man" are given a radical face-lift, softened in this incarnation with (believe it or not) a retro-beatnik lounge-act vibe.

To their credit the trio don't even try to camouflage some of the rockier elements of their sources (during "Starless" and "Red", for example). But make no mistake: this doesn't pretend to be Jazz-Rock, or any other sort of Fusion. It's pure jazz, and vitally so, performed with all the spirit and energy of a live recording (I certainly can't hear anything resembling an overdub).

Wallace's drumming exhibits all the grace and freedom he was denied while actually a member of Crimson (at least during the perhaps too-carefully constructed studio sessions for the "Islands" album), and he's joined here by two players of equally high dynamic caliber: Jody Nardone on acoustic grand piano, and Tim Landers on fretless bass guitar. Together they show enough confidence to really have some fun with the material, from the upbeat swing of the otherwise raunchy "Ladies of the Road" (steering it not too far from Squirrel Nut Zippers territory) to the silky feline groove of "Cat Food" (with canine vocal accompaniment), and to a version of "I Talk to the Wind" even more gorgeous than the original.

The CD comes with a generous endorsement by Mr. Fripp himself, who couldn't have failed to notice how pleasant a contrast it makes to the often inorganic technological juggernaut that King Crimson has long since become. Think of the jazz trio as the civilized Jekyll to the sometimes demonic frenzy of Crimson's Hyde: a mirror-image alter- ego evolving in a much warmer parallel universe.

Now how long do we have to wait before hearing Volume II?

King Crimson meets A Charlie Brown Christmas.

Well, OK the drummer, Ian Wallace was in the KC and the musical style certainly reminds me of what remains one my favorite soundtracks of all time. In fact, I tend to think that if you had introduced this album to the jazz loving public around that time (1965) it might just be regarded as a classic jazz album to this day. Even though the original King was known for embracing jazz elements on their earlier albums, these are tracks from the 1969-1984 era totally reworked as jazz pieces. Who knew that hiding inside King Crimson's songs were some cool jazz tracks trying to get out?

I think it is a testament both to the brilliance of Crimson's original compositions as well as the talent of the musician's involved in this project that it all works so well. A lot of the tracks you can kind of see reworked as pure jazz when you first read the list, but Three Of A Perfect Pair and Matte Kudasai work unexpectedly well. 21st Century Schizoid Man and Red were a bit of surprise, too. Cat, Food, Ladies Of The Road, and I Talk To The Wind, I could see. My favorite, last but not least, and not last really, Starless. Maybe that's the only one that might be out of place in parts back in the time before there was a King Crimson, but not by too much.

Fripp says on the liner notes "I have heard as if for the first time," these songs. I got the same feeling.

The first thing I am going to say about this album is WOW !!!!

Here we have a very very talented jazz trio reworking (not covering) King Crimson classics... and, yes, one of them is a Crimson alumni: Ian Wallace, drummer for the Islands lineup.

Everyone can notice from one single listen of any of Crimson's works the strong jazz/improvised music foundations of the music, as a result of that the band developed a very particular method of songwriting which consists on free improvising (many of the times live at concerts) until they find something interesting to start working with. This album brings this jazzy soul to its maximum exponent with just an "acoustic" trio (piano, drums and electric bass).

The style of the this album has nothing to do with rock is simply jazz in the style of Dave Brubeck and Ahmad Jamal with lots of improvisation (sort of a crossover between cool and free/avant jazz). The most obvious relationship with this style can be noticed during King Crimson's 1969-1974 era, therefore what you would expect are renditions of tracks such as 21st Century Schizoid Man, Catfood, Starless and Ladies Of The Road, which, of course, you'll get but things get more interesting with renditions of Red (more bluesy than jazzy) and I Talk To The Wind (with a more symphonic and ballady style in its original form) and the band gets even more daring while interpreting unexpected pieces such as Three of a Perfect Pair and Matte Kudasai from the 80s incarnation of King Crimson.

Although the songs are completely changed and reoriented in style they still are recognizable and keep their original essence and some rocky edges here and there. This is so well accomplished that you don't get to miss any of the original instruments: not even Fripp's guitar; the vocals on I Talk to the Wind, Starless or Catfood; or the magnificent mellotron (yes, even in Starless you don't need it).

It is magnificent how each song is revitalized and gets a new identity through this band's treatment. Nonetheless it is important to note that some songs did actually preserve much of their original nature, specially Catfood (since the original is actually based on a jazz piano melody), Starless (It is outstanding since the mellotron, electricity and Wetton's voice are all absent) and Red (again, amazing achievement without electricity).

If these were original compositions (which they somehow are.... and not just because Wallace played with Crimson) this could've been considered a jazz masterpiece and essential together with the great names of jazz. That is why I am going to give it the 5 star rating although this is not progressive rock in the strict sense of the term (it is progressive but not rock).

In conclusion: this is what you may expect if during a King Crimson concert an outage occurs...

Ex-KC drummer Ian Wallace US-based jazz-trio plays greatest King Crimson compositions. Don't worry, it's not a Tribute album, and not just a covers. It's real competent jazz trio, emotionally connected with early KC music, plays jazz versions of what you perfectly know as heavy progressive classics.

May be it's hardly to believe, but the result is excellent! Possibly, Ian Wallace's participation saves material from irresponsible transformation, but all composition sound very tasteful, with big love to initial material.

Even if the music on this album is hardly fusion, but just more contemporary jazz, played by classic jazz trio, I believe this music can attract very wide listener (and really not only jazz lovers for sure). I think this album is the best release of KC material, played by non-original KC team.

Very recommended - and when you will enjoy this album just remember there is Vol.2, album of the same excellent musical level.

Former King Crimson drummer Ian Wallace came up with the idea of forming Crimson Jazz Trio in 2004, while still a member of the cover band 21st Century Schizoid Band.The more improvised parts on the King Crimson's covers played by the later pushed him to think of a jazz interpretation of the most famous King Crimson material.In a gig in Nashville he met pianist Jody Nardone, a King Crimson fan as well, and while back in LA, he met bassist Tim Landers to complete the new trio's line-up.A year later ''King Crimson Songbook, Volume One'' would be published on market by Voiceprint.Landers was also responsible for the recording process, which took place at Mudzone Studios in California.

In this album the trio chooses eight famous King Crimson tracks and decides to offer them back in more loose and jazzy formats.The idea of this jazzy interpretation is definitely welcome and trully ambitious.But what about the execution?Well, personally I would have a hard time to recognize any of these tunes as King Crimson's original stuff and that is not necessarilly a bad thing.Wallace & Co. succeeded to deliver eight jazzy compositions with many colors and moods in a very personal style with the jazzy improvisation being the main factor, while the execution is very nice.Plenty of good solos throughout with some fantastic piano work by Nardone and Wallace offering a memorable, confident and powerful drumming.I am not that convinced by Landers' bass work, which remains mostly down the shadows of Wallace and Landers, but he certainly contributes on the overall rich and warm sound.Still, you have to be more of a Jazz than Progressive Rock fan to fully appreciate the album.

An interesting idea by an underrated member of early King Crimson.Recommened especially to Jazz/Fusion buffers but anyone into King Crimson's long career should simply try this ambitious musical project.