What King Crimson lacked in commercial marketability, it more than made up for in innovation and experimentation, so much so that multiple generations of alternative, progressive metal and indie acts (Tool, Nirvana, Phish, Primus, The Mars Volta) were birthed on the foundation laid by Robert Fripp and his rotating cast of virtuosos.

A major player in the equation for a particularly productive streak throughout the 1970s was violin, viola and Mellotron player David Cross, who brought a classical touch to the already established avant-garde approach and continues to display his mastery of the instruments throughout numerous solo projects and collaborations with the likes of late Yes man Peter Banks and many previous Crimson pals.

Regarding his current reason to visit the rock club Reggies, it was the 50th anniversary of the landmark “Larks’ Tongues In Aspic” album, though the almost two-hour excursion also included bits of the Fripp/Cross/John Wetton/Bill Bruford follow-ups “Starless And Bible Black” and “Red,” plus a few personal pieces.

The headliner unfurled his own “The Pyramid Scheme” and “Tonk” on the way to Crimson’s “The Great Deceiver” and “Red,” joined by lead vocalist/guitarist John Mitchell, keyboardist Sheila Maloney, bassist/vocalist Mick Paul and drummer Jack Summerfield, who demonstrated impressive mastery of the complicated material.

Fellow individual selections, “Starfall” and “Calamity,” mirrored the improvisational essence of what was to come from the main event’s spontaneously recorded sessions, which were recalled in running order as they left room for the musicians follow their feels.

The gradual instrumental introduction of “Larks’ Tongues In Aspic, Part One” eventually reached downright epic proportions of prolonged aggression, prior to paring down for a gorgeous violin showcase that shifted the tides towards the gentler “Book Of Saturday” and “Exiles.”

Side two boasted such volume-building brilliance as “Easy Money” and “The Talking Drum,” working their way towards the expansive and explosive “Larks’ Tongues In Aspic, Part Two,” sparking a roaring standing ovation in spite of the super intimate and otherwise seated show.

Cross and company came back to the jazzy, tribal and delightfully distorted jumble of “Starless,” which was one of his last compositions with Crimson and a fascinating finale to this superior salute fit for a King.

For additional information on David Cross, visit DavidCrossBand.com.

Upcoming concerts at Reggies include Pavlov’s Dogs (Oct. 7); Mr. Blotto (Oct. 8); T1Fest (Oct. 10-12); Son Of Ra (Oct. 11); Nervosa (Oct. 13); Black Denim Blues (Oct. 13); Ask Carol (Oct. 14); Haru Nemuri (Oct. 15); Mr. Blotto (Oct. 15); Alabaster (Oct. 16); Pig Destroyer (Oct. 17); Jane Getter Premonition (Oct. 17); Slift (Oct. 18); 4×4 Animal Style (Oct. 18); Mark Sultan (Oct. 19); Made Wrong (Oct. 20); Zack Fedor (Oct. 21); Mr. Blotto (Oct. 22); Electric Villain (Oct. 24); Escuela Grind (Oct. 24); Mephiskapheles and Jeshua Marshall (Oct. 25); Anything Is Everything (Oct. 25); Flight Attendant (Oct. 25); Chicago Sound Collective (Oct. 26); The Ready Freddies (Oct. 26); Kayo (Oct. 26); Beach Trash (Oct. 26); Mike Keneally (Oct. 27); Haki N Dem (Oct. 27); Mr. Blotto (Oct. 29); Esophagus (Oct. 30); Salami Rose Joe Louis (Oct. 30); The Cure’s “Japaneses Whispers” performed by PriMary and Cake’s “Comfort Eagle” performed by Coveralls (Oct. 31) and K. Marie (Oct. 31). For additional details, visit ReggiesLive.com.

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