by Lindsay Planer After the success of the mid-'90s King Crimson, the double trio regrouped in the spring of 1997 to actively search new sonic textures. While the same six musicians came back to the fold, the energy had changed within King Crimson. Nashville Rehearsals 1997 is a composite highlight reel of that tentative regrouping at S.I.R. Studios. Enhancing without getting in the way of, the density created by the double trio presents a daunting task. Perhaps this is why the research and developmental stage aka ProjeKcts became necessary -- to reinvent the band from the inside. However, because the assembled musicians are adept at the art of "going for it," Nashville Rehearsals 1997 is less of a rag tag montage of jamming, and more an inspired examination into the active processes of sonic exploration. Many of the ideas presented during these sessions became cornerstones that took King Crimson away from the heavily saturated sound of the double trio and into the lean sonic circus that re-emerged with The Construkction of Light. "Too Many Eeee's" and "Pat's Mechanikal Fives" contain various motifs that can be traced right through the process. "Seizure" also became a staple of future ProjeKcts and King Crimson experiments. There are a few tracks that are not to be missed. Primary among them is the ultra-percussive and polyrhythmic "Mulundrum" -- featuring the magical union of Pat Mastelotto and Bill Bruford. "Tony's Jam is arguably the zenith of these sessions. Featuring Tony Levin's unmistakable walking basslines supported and enhanced by a host of oblique sonic structures. Potential consumers should be aware that the D.G.M. discs contain more music than the pricey Japanese imports on the Pony Canyon label.