For devotees of King Crimson's celebrated Double Trio era, The Crimson ProjeKct offered the closest thing imaginable to experiencing that repertoire in the flesh. The format itself was unusual: Adrian Belew Trio and Stick Men alternated throughout the evening, each performing selections from their own catalogues before joining forces as a sextet to tackle material drawn from the Crimson songbook.
The level of musicianship was predictably extraordinary. Adrian Belew, Tony Levin and Pat Mastelotto brought with them decades of history within the Crimson universe, while Julie Slick and Markus Reuter proved equally impressive. Reuter, in particular, faced the unenviable task of occupying the sonic territory once held by Robert Fripp, a challenge he met with both technical authority and a clear understanding of the material's spirit.
At a time when the future of King Crimson itself appeared uncertain, the opportunity to hear these compositions performed live carried special significance. Technical proficiency alone would not have been enough. This music also demands a deep familiarity with its language and an understanding of what makes it unique. Few musicians possess both the ability and the legitimacy to take on that challenge. Judging by the performance in Paris, the members of the Crimson ProjeKct were among those few. If this music is to continue living beyond the band that created it, it could hardly ask for more capable custodians.
