Simpson's paradox is a phenomenon in probability and statistics in which a trend appears in several groups of data but disappears or reverses when the groups are combined. There’s a gorgeous ballad with rhapsodic violin and Wetton playing with a descending line that would later be codified into Trio later in the year in Europe.ĭespite the sonic limitations and incomplete versions of Exiles and Easy Money and a truncated Talking Drum, this is another testament to the awesome quality of this quartet.Visualization of Simpson's paradox on data resembling real-world variability indicates that risk of misjudgment of true causal relationship can be hard to spot The second improv emerging out of Easy Money only adds to the impression of a group that can conjure near-miraculous acts of musical telepathy out of thin air. It’s one of those classics that feature a rocking four to the floor section that somehow seamlessly slips into an amorphous section that will have had the audience figuring that it was an entirely composed piece such is the precision control on display. The piece quickly accrues pace driven along by Bruford’s unerring snare work. Chief amongst those is the improvisation after Doctor Diamond.Īlthough the start is missing, the ominous nature of the mood is unmistakable and we can hear David Cross on viola making some bold interventions between the bass and horror-soundtrack Mellotron. The intro to Doctor Diamond, with its descending bass notes, sounds like a quarried hillside being detonated but thanks to Mister Stormy’s tender care, one’s ears become accustomed to aural assault and there’s some exciting thrills and spills to be had. Still, it gives you a ringside seat of what the man was capable of in his prime. That impression is prompted in part by the booming nature of this audience recording and Wetton’s omnivorous playing which threatens to overrun the track entirely. Wetton doesn’t so much play the piece as maul and beat it into submission. If you wanted to know precisely how different you need only listen to this bass-bossed version of Larks’ Tongues In Aspic Part I. However, on the 20th date on King Crimson’s first North American tour of 1973, the line-up here is very different indeed. The Agora in Ohio had previously played host to King Crimson in 1971.
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