Tonight we'll play an entire show from 2018, recorded in San Jose, Costa Rica.
Stick Men
— touch guitarist Markus Reuter, bassist/Stick player Tony Levin and
percussionist Pat Mastelotto — have been expanding the frontiers of
progressive music since 2007. With a repertoire that encompasses Levin
& Mastelotto’s legacy in King Crimson, Reuter’s innovative
soundscapes and searing improvisations, 4 studio albums as a group and
even Igor Stravinsky’s
Firebird, they are the real deal,
whether as a self-contained unit or joined by other groundbreaking
musicians. I heard them live in 2011 when they toured with The Adrian
Belew Power Trio, both performing their own music and joining Belew’s
band for an awe-inspiring set of Crimson classics.
In August and September 2018, Stick Men teamed with violinist David
Cross (best known for his contributions to King Crimson from 1972 to
1974), touring ten countries in Latin America. The results are
documented on the new
Panamerica, due for release in September. Expanding on previous live Stick Men releases
Midori (recorded with Cross in Japan) and
Roppongi (recorded with saxophonist Mel Collins), the set will include:
- A complete show recorded live in Costa Rica
- “Pan America Specials” recorded live in Argentina and Brazil
- “Pan America Suites” recorded live in Peru, Chile, Argentina, and Uruguay
- “Fire Starters”, a continuous mix of selected Cross/Reuter show opening pieces
Go here for all the details!
— Rick Krueger
Disc III – Full Show, Part 1 (Costa Rica)
3-1 Opening Improv
3-2 Hide The Trees
3-3 Cusp
3-4 The Talking Drum
3-5 Larks’ Tongues In Aspic, Part II
3-6 Crack In The Sky
3-7 David’s Improv
3-8 Schattenhaft
3-9 Sartori In Tangier
3-10 Swimming In T
Disc IV – Full Show, Part 2 (Costa Rica)
4-1 Plutonium
4-2 Red
4-3 Mantra
4-4 Prog Noir
4-5 Shades Of Starless
4-6 Level 5
4-7 OPEN
Scott Medina writes:
As they cross the globe celebrating their 50th Anniversary, the mighty
King Crimson
continue to leave their mark on progressive rock in more ways than one,
not the least being the many offshoot ProjeKcts and other ensembles
that have been spawned in their wake. Such is the pedigree and devotion
of the musicians involved that even when
Robert Fripp himself isn’t in a particular grouping, the aura of his influence is still felt yet again. Cue the music of…
Stick Men.
Although
Stick Men is primarily the trio of
Markus Reuter and Crimson alumni
Tony Levin and
Pat Mastelotto, they truly come into their own when joined by special guest
David Cross on violin and keyboards. With three different decades represented from Crimson’s history –
Cross starting in the 70s,
Levin in the 80s and
Mastelotto in the 90s – there is more than enough credibility to include a healthy dose of material from that band in the
Stick Men
set-list. Equally important as any specific songs “covered” in the set
is the ethos of the musicians’ approach, which is heavily rooted in
improvisation. And this is why a 5-disc set recounting the band’s
travels across Central and South America may be of interest to their
more devoted fans, though not an ideal starting point for a newcomer.
“PanAmerica”’s main full show, which comprises Discs 3 & 4, has many of the same selections as their previous 2015 release
“Midori – Live in Tokyo” which also featured
Cross
with the band. But as many Crimson aficionados will attest – given the
endless supply of multi-disc live boxed sets continuously emerging from
that band’s history – more is never enough, as there are innumerable
nuances and variations on display in each song and improvisation as they
are played night after night. In this case, not only has an excellent
full show been captured live in Costa Rica, but the remaining 3 discs
offer a deep dive into the improvisational nature of the band, culled
from shows in several different countries.
Let’s start with the complete show first. The mix is considerably different from the
“Midori” release, which will give completists a new vantage point from the get-go. After the traditional beginning with an
“Improv”, the band launch into two of their fine original pieces
“Hide the Trees” and
“Cusp”, both of which establish the strength of
Cross’ inclusion to the band. As a trio,
Stick Men produce a dizzying amount of sounds:
Mastelotto’s wide-reaching attack on his extensive percussive kit,
Levin’s stick playing serving the role of a bassist and guitarist simultaneously, and
Reuter’s Touch guitars and other effects soaring high overhead. Adding
Cross into the mix is a secret weapon which enables them to more fully traverse the thrilling terrain of
“Red”,
“The Talking Drum” and
“Larks Tongues in Aspic II”,
and of course brings additional color to their improvisational nature.
It feels like a natural fit, and the members themselves aren’t shy about
praising one another. It’s endearing to hear
Cross call
Stick Men “The best rock band in the world!”
While
much of the material is instrumental, a few pieces feature spoken word
or sung vocals, offering a nice contrast. One of the most successful of
these is
“Crack in the Sky” which features
Tony Levin’s smoky spoken vocals over an atmospheric groove, not unlike
Robbie Robertson’s
“Somewhere down the Crazy River” on which
Levin also played bass.
Reuter gets to have fun with his spoken section on the quirky
“Plutonium”, and of course who wouldn’t love the genre’s theme song
“Prog Noir”, sung by
Levin? With blistering versions of
Crimson’s
“Level Five”, original pieces
“Schattenhaft” and
“Mantra” and much more, there’s plenty of material to keep
Stick fans happy, as well as a generous dose of between-song banter and stories. You can even learn how to properly count-out
“Mantra”’s time signatures, a much more daunting proposition than
“We Will Rock You”.
“Panamerica” Box Set Artwork
The
real depth of this box set reveals itself in the other 3 discs, all of
which are largely improvised. Disc 1 plays with extended and shorter
versions of improv-based songs that are present in their regular concert
set on Discs 3 & 4. For example,
“Swimming in T” has a longer version on Disc 1 in addition to two shorter
“Swimming Improvs” as well; the
“Opening Improv” on Disc 1 is 12 minutes longer than the full-concert version on Disc 3, and we get two versions of the track
“Open” as well as
“Shades of Starless” which is a meditation on the
Crimson
classic. Disc 5 immerses the listener into soundscapes: relatively
shorter ambient pieces which are heavy on the synth and without
percussive accompaniment. These actually were sourced from using only
the isolated improvised parts of
Markus and
David.
The songs have been edited to run into each other without any audience
applause, so the result feels like one continuous studio recording for
the entire disc. Finally, Disc 2 features 4 longer
“Suites”
with each track being sourced from 3 separate pieces and then titled for
the region in which they were played. These are the most interactive
and engaging improvs of the lot, with some delightful percussion from
Mastelotto,
Levin’s stick holding down the lower end while
Cross and
Reuter unleash frenzied playing over top on
“Montevideo Suite”.
The box set itself is beautifully packaged, featuring artwork by
Hajo Müller with slip case, individual jackets for the CDs plus a 24-page booklet with exclusive tour photographs by
Tony Levin. The music of
Stick Men
is not for everyone, and being that this 5-disc set focuses so much on
improvisation it is likely that a newcomer would be overwhelmed. But for
the faithful, this approach offers an immersive exploration into the
development of the band over the length of the tour. And let us not
forget that experimentation such as this is surely one aspect of what
“progressive” music is all about.
Released by:
Iapetus / MoonJune Records
Released Date:
November 8th, 2019
Genre:
Progressive Rock
Musicians:
- Tony Levin / Chapman Stick, Voice
- Pat Mastelotto / Acoustic Drums, Electronic Drums, Percussion
- Markus Reuter / Touch Guitar, Electronics Soundscapes, Keyboards
- David Cross / Electric Violin, Keyboards
CZAR had an all-too-brief reign in the prog kingdom as they only existed long enough to record one self-titled album in
1970. The London-based group were originally formed as a Pop group back in 1966 when they were known as Tuesday's
Children. The band changed their name to Czar for this one-off moody Mellotron album. A 2007 CD remastered edition more
than doubled the original seven songs on the album by adding eight bonus tracks. The silly album cover pictures a bear
wearing a crown (presumably a Russian Tsarist bear) tearing into a picture of a startled-looking man. You can't judge an
album by its cover though, so let's hope the music contained within is better than the bizarre Czar album cover.
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