Errors-To: et-admin at blackcat dot demon dot co dot uk Reply-To: et at cs dot man dot ac dot uk Sender: et at cs dot man dot ac dot uk Precedence: bulk From: et at cs dot man dot ac dot uk To: et at cs dot man dot ac dot uk Subject: Elephant Talk Digest #386 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 386 Wednesday, 11 June 1997 Today's Topics: Trey Gunn/CGT TOUR DATES Addition. FFWD Fripp's Salisbury Cathedral performances Trey Gunn+CGT Review Tony Levin's Birthday Prog rock radio show Fripp-bots and the conspiracy... Protopunk November Suite Soundscapes Playback Tangential Wetton Wales @ Bottom Line in New York Looking for Andy Rinehart cd Toronto Radio Stations Manhatten and other missing songs Giles Giles & Fripp: Megaton & O. Trey Gunn concert Trey Gun Band, CGT, Paradise Boston 6/6/97 Drumming books USA on Tape CGT and Trey Gunn at the Bottom Line Gates of Paradise fripp wired Re: Elephant Talk Digest #384 Trading Recordings ------------------ A D M I N I S T R I V I A --------------------- POSTS: Please send all posts to et at cs dot man dot ac dot uk To UNSUBSCRIBE, or to CHANGE ADDRESS: Send a message with a body of HELP to et-admin at blackcat dot demon dot co dot uk, or use the DIY list machine at http://www.cs.man.ac.uk/aig/staff/toby/et/list/ to ASK FOR HELP about your ET subscription: Send a message to: et-help at blackcat dot demon dot co dot uk ETWEB: http://www.cs.man.ac.uk/aig/staff/toby/et/ (partial mirror at http://members.aol.com/etmirror/) You can read the most recent seven editions of ET at http://www.cs.man.ac.uk/aig-bin/newslet.pl THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmeister) Mike Dickson (List Admin), and a cast of thousands. The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest 3.0 package. ------------------ A I V I R T S I N I M D A --------------------- From: bullj1 at westatpo dot westat dot com Date: Wed, 04 Jun 97 10:17:56 EDT Subject: Trey Gunn/CGT I saw the CGT and Trey Gunn Band at the Birchmere (Alexandria, VA) and Orion Studios (Baltimore, MD) and am writing to urge those of you in NY and Boston to go see these guys. If they continue as they did from night 1 to night 2, they'll be unbearably good by the end of the tour. Every one of these musicians is world-class. The CGT performed a lot of new material on their new Somogyi guitars, replacing the tinny, pop-laden Ovation sound with warm tone. The boys'll have no trouble keeping up with John McLaughlin. Trey's band is superb. A hint: don't let the Warr guitars take your attention away from Tony Geballe (and his fabulous footwear). A personal note: the first time I heard Albert Collins, I wanted to be his love slave. I feel the same way after hearing Bob's drumming. There are a couple surprises at the end of the show. I was disappointed in the Orion Studios venue until I realized: for 15 bucks, I can go to the 9:30 club and get a cappucino. For the same price, I can go to Orion and see the band without the amenities but also without 300 people in front of me. Sound note: the sound at the Birchmere was clearer whereas the sound at Orion was more that of a rock band - I preferred the Orion approach except Bob's tablas didn't "ring" the way they did at the Birchmere. Go see these guys before they get too big for those intimate venues. JoanBull bullj1 at westat dot com ------------------------------ Date: Thu, 05 Jun 1997 01:19:22 -0600 From: Andy Burger Subject: TOUR DATES Addition. Hello Toby, I'm writting to let you know of an addition to your "tour dates" section. Robert Fripp will open the G3 tour on June 30, 1997 at the Northrup Auditorium in Minneapolis, MN. I had to check my tickets when I saw that you didn't have June 30 listed. You frightened me for a second, I've seen Fripp live only one other time on the THRAK tour when they came to Minneapolis. I'm very excited! Hey, have you heard anything about Fripps latest performances (while opening for the G3 tour)? Sincerly, Andy B. ------------------------------ Date: Thu, 5 Jun 1997 16:17:32 -0400 (EDT) From: Zero the Hero Subject: FFWD Simple enough question (I hope): Is the FFWD CD still available/in print? Any mail-order vendors carry it? Thanks, Jason ----- jeller at unf dot edu Computing Services, University of North Florida Listen to DREAMS WIDE AWAKE http://www.unf.edu/~jeller/dreams.html Saturday nights from 8 to 12-ish Hosted by Jason Ellerbee Airing from the University of North Florida worldwide via the Internet at http://www.unf.edu/groups/wosp/stream.htm Feedback is welcomed and encouraged! ------------------------------ Date: Fri, 6 Jun 97 11:51:42 BST From: simon morris Subject: Fripp's Salisbury Cathedral performances Did anyone else on this list make it to any of Fripp's 2 1/2 hour performances at Salisbury Cathedral? I managed to get down for Monday and Tuesday, and it was an extremely rewarding experience. Despite the location of the Cathedral rotating a constant stream of visitors and tourists who had no idea who the guy in the waistcoat was, I wasn't alone in turning up as a Fripp fan. Fripp's equipment was set up in the centre of the cathedral, his rack of effects and samplers blinking and flashing little green and red lights at the base of an enormous stone pillar, with the cathedral's huge blue stained glass window at the back of the altar behind. Because on Monday chairs were not prepared so that people could face towards him, when Fripp seated himself and began to put some sounds together a number of us plonked ourselves down on the cathedral floor in front of him to take it in. Several people there seemed intent on getting pictures of the man, and each time their flash bulbs went off Robert looked up with an extremely irrated expression and gestured for them to stop. Often they didn't, and one guy seemed to get into snapping Robert's expression as he glared at him. A number of times this obviously was breaking up the spirit of the performance, and Robert would just stop what he had been playing and waunder off round the cathedral to hear the soundscape he had set up play through the stones of the ancient building, and get back into what he was feeling before returning to his stool. This he would do frequently in the performances anyway, as the effect the music and cathedral simultaneously had upon each other was breathtakingly beautiful. On the Monday, it seemed that the intrusion of flash bulbs and perhaps fans who didn't enter into the spirit of the occasion (this wasn't a gig, it was a site specific art installation really) had the effect of producing some quite dark sounscapes from Fripp. They were incredible, but when I turned up later in the performance on Tuesday something was subtly different. On Tuesday it seemed that Fripp was beginning to really tune into the location. The soundscapes were gentler, more poignant and seemed to roll through the bones of the building. At one point I had the thought that both the cathedral and Fripp's music had always been destined to meet, so perfectly did they interact. Seats had been arranged in the aisle so that there were only a couple of people seated on the floor before him, and today the music seemed to direct the gaze into the building, into the rolling arches and awesome windows; a palpable atmosphere sat in the air, as if the cathedral had awakened to Fripp's communion with it and was making an effort to give something back. When I arrived that day, Robert was already standing at the back of the aisle with a collegue taking in the combination of sounds and sights, and he looked like he was treasuring the experience. Each day when he finished his performance bang on five o'clock, he would simply pick up his bag and disappear into the cathedral as the sounscape ebbed away. There was no 'star' act, and no need for applause: the atmosphere must have given him the satisfaction he had sought. On Monday, whilst I sat inside listening, my girlfriend had decided to climb the cathedral spire with the guide. At the bell tower he explained that usually they time the tour to coincide with the hourly chimes, but unfortunately that day this would not happen as the bells had been disconnected 'because that man is making his noise with that guitar'! My girlriend, who isn't a Fripp fan, had described to me the way that the music had carried high up into the cathedral spire, almost to the top, and how lovely that had sounded. Anyway, hope I haven't bored you, but it was a very special experience. Simon. ------------------------------ Date: Fri, 6 Jun 1997 10:42:04 -0400 From: "Gordon Emory Anderson" Subject: Trey Gunn+CGT Review I attended the first set of the Trey Gunn+CGT show at NYCs Bottom Line last night (6/5). In a nutshell: Kicked ass. Actually, I was frankly somewhat worried that CGT was going to come out with basically the same set and "stunts" as during their openings for Crimson. As excellent an act as they are, after two exposures to their old set, my thought had been that they were a little too in love with their complex musical vocabulary. But patience has paid off: they played some new tunes that revealed an excellent evolution. Some of the new tunes rock, but yet are assymetrical and somewhat haiku-like. A fascinating development is that they now play custom-built NST guitars, with angled frets! Although i am no muscian, this first of all seemed to allow their hands to assume more natural positions when playing those odd NST chords and what not. In addition, the bottom-of-the-guitar string-anchor-thingy was also angled, so that the bottom string was much longer than the top string. This made the open chord sound much fuller (with "balls" as said by one 'audient'). As an engineer, I have long believed that this sort of stratification of innovation (a new guitar (like IP) based on NST (like TCP)) indicates a highly developed supporting layer. It was really exciting to see this snapshot of a new point in evolution. As for Trey Gunn's set, it was absolute fantastic. According to his own admission, he had never met the other two guitar players prior to about ten days before the gig. They not only kept up with this complex material, the jammed hard and masterfully on it. The music not only rocked hard, it did so with complexity, power, and nuance simultaneously. Most of the music came from The third Star, but a significant fraction came an early album called "Raw Power". Very fulfilling. After one ass-kicking tune, Trey said something like "I don't know if its polite, but that's a killer groove, isn't it." He seemed almost embarressed to say so (it's his music after all), but objectively it was really true. All in all, free from the almost sterile perfection of the album, the live, rough version of those tunes really opened up. As for bob Muller (looked much like 'Animal' from the muppets) the drummer, I was hoping that his live work would be as good as his Third Star drumming, and it was at least that. That guy has some serious percussion chops! His tabla work was much better than his album versions of the same. My only "criticism" is that his drum kit playing was too loud (don't all drummers play too loud!), but this may not have been his fault. I think I was actually hearing the live kit that loud in the relatively tiny Bottom Line. (The room also seemed to basically render all sub 300kHz sound into percussion.) It is, of course, pointless to ask a drummer to "play quieter" (but I have a theory about this--the physics of moving your arms really fast may prevent soft drum-kit pla ying during fast, rocking passages). As encores, Trey played with CGT, and then with his own band. And as we were walking out, CGT moved into the middle of the audience with guitars truly "unplugged" and played one last tune, as the audience sat in near silence to hear. And all this for $15! ------------------------------ From: Mark Jakusovszky Subject: Tony Levin's Birthday Date: Fri, 6 Jun 1997 11:27:46 -0600 Happy Birthday TONY! I wish you all the best. ------------------------------ From: charity at creighton dot edu Date: Fri, 6 Jun 1997 15:41:00 -0500 (CDT) Subject: Prog rock radio show Greetings Elephant-types, FOR ANYONE WHO MIGHT BE INTERESTED IN CO-ORGANIZING A RADIO SHOW FEATURING THE SO-CALLED "PROG ROCK" CROWD IN THE OXFORD, ENGLAND AREA: I just contacted the programming director for Oxford University's radio station, Oxygen 107.9 FM. In case you are not familiar with the station, it is a student-run channel with the programming and announcing done on an entirely voluntary basis. I will be in Oxford from the end of June through the beginning of August. If anyone would like to co-announce and organize please let me know through private email: charity at bluejay dot creighton dot edu. I would also appreciate one or more people in the area helping out with our music selection. I don't think my husband will part with any of his Mahavishnu Orchestra, King Crimson, Allan Holdsworth, etc. for the summer. LET ME KNOW IF YOU ARE IN THE AREA AND CAN VOLUNTEER YOURSELF AND YOUR COLLECTION!!! I think it would be a riot to host a show of some of the best music ever recorded. A dream come true to be exact! I would like to see a fellow Crimhead share in my joy! Sincerely, Charity H. Upchurch charity at bluejay dot creighton dot edu ------------------------------ Date: Fri, 6 Jun 1997 17:02:29 -0400 (EDT) From: Weirdy2 at aol dot com Subject: Fripp-bots and the conspiracy... INTRO: It is often that I download a new ET and observe the ongoing war between the various Crimheads and their favorite lineup. The fans of the old sometimes claim that the Discipline era Fripp is a different Fripp and KC has lost its rawness and soul. Well, I think I have the information that can explain the metamorphasis of Fripp and KC. I can only hope that I "dont know too much about the conspiracy"... I. Genesis of the Fripp Bots. When KC disbanded after Red, there was much spare time left for Mr. Fripp. Always interested in Quantum Physics, Fripp began to develop his system of Frippertronix. However, this technological advance did not come without error. Fripp's first series of Frippertronics experiments produced no guitar tones or delay loops at all. Instead, his guitar and early Frippertronic device produced supersonic radio waves that could be used as Television remotes, aircraft radar, and lithotripsy, this depended on what tuning Fripp was using. In a few years, this miracle of guitar technology landed Fripp his first job in Hollywood: Creator and Controller of the shark in the Speilberg motion picture Jaws. Yes, Fripp also built the hideous robotic creature. During the Jaws production, Fripp would sit on his boat stool with guitar and Frippertronics, controlling the shark by using his high frequency Frippertronics. A few crew members were actually eaten by the shark during the last few weeks of production when Fripp broke his B string, losing control of the beast. Unfortunately, Fripp never worked in Hollywood again. With the development of the first Fripp-bot ("Jaws"), Fripp was ready to experiment more with the genesis of Frippbots. I can only guess that Fripp was inspired by one too many Dr. Who episodes (mimicking Daveros and the Daleks). Later in the 70s, ENO helped Fripp develop his Frippertronics to produce the desired result. II. Discipline and Technology Before the resurrection of KC, Fripp conducted several painstaking experiments, attempting to perfect the art of Fripp-Bot produciton. The radio-Frippertronic devices quickly became obsolete. The greatest achievement of the radio-Frippertronics was Fripp's training of a dog to play guitar in his place for David Bowie's Heroes tour. All of a sudden while relaxing in a sauna in New York, it came to Fripp: C G D A E G...Yes, this was the key to making highly advanced android FrippBots. Using this Crafty tuning (Playing a one measure exert of Larks Tongues I in a loop) , Fripp could put Crafties into a trance using FRYPNOSIS, which would allow him to insert his Fripp-Chip into their Cerebral Cortex. Fripp even crafted synthetic humans to hold his crafty Fripp-Chip, making them rhthmically persistant and impossible to communicate with (due to their abundance of intellectual babble). It wasnt until Discipline that Fripp actually made a Fripp Bot capable of creating complex and creative music. Journey was actually the first Fripp-Bot based musical group...this was a failure. Hiding his technological secrets from his newly formed KC, Fripp sent one of his clone Fripp Bots to work the Discipline recording sessions and tour. This enabled Fripp to spend more time training "crafties". The only requirement of crafties is the submission of an essay, explaining their reason for seeking Craft teaching. This gives Fripp the chance to weed out all non submissive/non suggestable/ non Frypnoticable inquirees. The secret of the Fripp clone in KC was kept until the recent Vroom rehearsals. The clone drank one too many cups of Cappaccino, and shorted out, producing a cloud of red smoke. Levin was so angry that he beheaded the robot with his stick. Exposed, Fripp hired a highly trained team of roadies to solve any technological problems on the Thrak tour. Placing the Frippbot in the complete darkness, the audience is not likely to notice if the Frippbot malfunctions and is replaced by the FrippBot roadies...This is why technology is only a problem when it fails. III. Closing/Warnings I am not impressed at all with Fripp's so called ability to read this post and all other posts. For I know it is only a low level Fripp bot that reads ET on behalf of Fripp. The ET information is then linked to Fripp using the mind linking FrippNet (inspired by the Cybernetic Borg). Whatever you do, dont enter the INTRO to Crafty class...you will be conditioned for Frypnosis and sent to Fripp's evil laboratory to become a part of Fripp's private army. A friend of mine went, and now is only able to sit in his closet trying to make his braces produce a tone with an E-BOW. If everone is not properly informed, Fripp Bots will slowly take over the world, initiating Fripp's Plan 9 (from outer space)...we are all doomed. -Anonymous ------------------------------ Date: Sat, 7 Jun 1997 10:40:37 +0100 (BST) From: Peter Thompson Subject: Protopunk I have a bootleg (ahem) of a Sylvian/Fripp gig which is entitled A New Day. According to the Robert Fripp discography at ET this track is called Protopunk. Does anyone know anything about it? I am particularly interested in who is playing (is it Fripp, Gunn or both of them?) and whether it is available on a commercial release. Peter Thompson ------------------------------ Date: Sat, 7 Jun 97 18:16:38 +0100 From: Stephane Alexandre Subject: November Suite Dear Elephant Talkers, The last Robert's soundscapes CD "November Suite" is based on a three hours performance condensed on one hour. Those soundscapes are performed using a dual loop system which was previously used for the Queen Elizabeth Hall's performance which will be witnessed by the release of the CD series "The Gates of Paradise". The music is presented as two interlocked suite "Green Park Suite" and "November Suite". The credits are the following : GREEN PARK SUITE GREEN PARK SUITE I Platform One 3:44 V Platform Five 9:13 II Platform Two 1:20 VI Platform Six 3:52 III Platform Three 1:50 VII Platform Seven 4:38 IV Platform Four 2:13 NOVEMBER SUITE NOVEMBER SUITE IV 8:56 I 4:29 GREEN PARK SUITE II 2:14 VIII Platform Eight 0:58 III 10:53 IX Polychromatic Park 8:15 X Technicolour Park 1:21 From a general point of view, "November Suite" is more serene and quiet than "Green Park Suite". "Platform one" starts with a similar music which opens "That Which Passes" and during the three next platform Robert plays around with this theme continuously modifying it and using different sounds (piano percussions, ...). At the end of "Platform Four", the music cools down slowly to make the transition with the three first movements of "November Suite". The first part is very cool and at its end Robert starts a very high treble melody (truly angelic) which will be used as a background music for the second part. During the third slow movement, the theme used in "Platform one" reappears played with marimba and bell sounds. At the end the music become more complex to make the transition with the next three "Platforms". As on the first "Platforms", the music here is characterized by a perpetual evolution and quite a lot of percussive music played over classical soundscapes layers. At the end of "Platform seven" the music slows down and the last quiet "November Suite" movement may start. At the end of this movement the music fade out and there is a short break before the next piece. "Platform eight" is short and is a reminder of the previous parts of "Green Park Suite". "Polychromatic Park" is full of changes and is quite polychromatic! It ends up and "Technicolour Park" starts while you think it is the end of the CD. "Technicolour Park" is short and quite aggressive. It stops abruptly as if someone had unplugged the sound system. Actually it was almost the case since Robert and David Singleton were almost obliged to stop because some Bath inhabitants were upset by this soundscapes performance. By comparison with the previous soundscapes releases, the power of "November Suite" is its unity. The transitions between the different parts are quite logical and natural. To sum up, "1999" from the 1994 performances in Argentina as well as "A Blessing of Tears" and "Radiophonics" which witnessed the 1995 soundscapes series were taken from performances where Robert's soundscapes were presented with a musical interlude by the California Guitar Trio or Los Gauchos Alemanes. All the pieces stand alone even when Robert associated them in a suite ("Buenos Aires Suite"). "That Which Passes" is a compilation of several soundscapes from the 1995 series. It is then representative of the different musical soundscapes possibilities. I also believe that some soundscapes were mixed to produce a music which could have been played with the dual loop system used by Robert from the beginning of 1996. A good way to be introduced to soundscapes. "November Suite" came from only one performance without musical interludes and it really stands alone as a masterpiece. Happy Soundscaping, Stephane. PS : Somebody mentions recently the Soundscapes collector box. It is a simple box which may contain the three releases from the 1995 series. (It may be obtained for free at DGM - ref DGM BOX 1 - with any soundscapes CD order). The Robert Miller's painting used on the back of the booklet of "That Which Passes" is on the front and a small print of the paintings used for the three 1995 volumes is on the back. "Soundbites" shall not be released in a near future. ------------------------------ Date: Sun, 8 Jun 1997 15:34:18 -0400 From: Sid Smith Subject: Soundscapes Playback About 70 people turned up for the playback which took place in The Great Hall The music was very dramatic and it was hard to imagine that it hadn't been scored for and played by an orchestra. It reminded me heavily of Ligetti and Debussy (what a combination !) in terms of it's lush, impressionistic tones and the great rushes and flurries of dissonance. The playback lasted just over half an hour and then RF asked each member of the DGM team to introduce themselves and what they did. It was nice being able to put faces to names and hearing about there current work. Following this, RF outlined the future projects which lie ahead. Some of these included the release of the Concertbegouw tapes via the BBC, plans to release some archive material of the 81 - 84 line up an plans for a 5 CD boxset of Soundscapes. There was an audible gasp when RF said that they had considered playing us some of the work in progress tapes of the new Crimson material but hadn't had time to edit the stuff into a presentable form. After this we had a break and RF did an autograph session. Throughout, he was animated and enthusiastic to the many questioner=92s and indeed to their questions. I imagined that the event would be finished but RF indicated that if people wanted to we could reconvene the Q & A=92s back upstairs. A hardy bunch of 30 or so did so and we were treated to another hour or so of Fripp discoursing (amongst other things) the right question and the wrong moment, the wrong question at the right moment and of course the right question at the right moment. Other subjects covered included the making of Islands, RF's view of the major record companies and some views on free will. As I rushed to get my train back to Newcastle, I felt very privileged to have spent a full afternoon in the company of someone whose music has provided me with so much pleasure. ------------------------------ Date: Sun, 8 Jun 1997 16:03:01 -0400 (EDT) From: Justin Weinberg Subject: Tangential Well, the other night was the Trey Gunn concert in Boston. Unfortunately I couldn't attend. I was busy seeing two other ex-Fripp associates in concert. Fellow Bostonions do not concern yourselves too much--it was at the Indigo Girls concert unluckily scheduled for the same evening as Mr. Gunn's performance (please do not ask why I went to the concert I did -- long story). So you may be thinking "Huh? I don't remember Fripp ever playing with the Indigo Girls." He didn't, but for a while now the IG's band has included Jerry Marotta on drums (from _Exposure_ and _First Day_ fame) and Sara Lee on bass (she was in the League of Gentlemen). The moment of the evening came when they played "Heptaparaparshinokh." Yeah. Right. Anyway, it was an enjoyable evening, despite missing Trey. Can those who attended his concert send in a review? Thanks. Justin Weinberg - = - = - = - = - = - = - = - = - = - = - = - = - = - = - Department of Philosophy "This fellow isn't insane. We Georgetown University are only doing philosophy." Washington, DC - Wittgenstein, On Certainty ------------------------------ Date: Sun, 08 Jun 1997 22:38:32 -0500 From: susan hirsch Subject: Wetton Wales @ Bottom Line in New York Dear fellow et'ers: I got a chance to see Mr. Wetton at the Bottom Line in New York City and he absolutely rocked! Myself and a couple of friends caught the earlier of two shows on May 27, 1997. The opening act was a two piece band called the Nudes. They were actually not bad. The chiquita on the stand up bass was very talented and quite cute. Anyway, Mr. Wetton eventually took the stage and commanded every Crimso fans' attention in the joint. The assault started at 8:25 p.m. with Heat of the Moment. The first thing that struck me was Mr. Wetton's voice. IT HASN'T CHANGED!!! I can't even begin to stress to you all how important the vocalizations are to me personally. Musical pieces can sound different because of improvisation on guitar, drums, etc. but when a piece that was recorded two decades ago sounds like it does on your stereo today, well, now you're cookin' dude. And I can share with those of you who have seen the re-grouping of ELP within the last four or five years, Mr. Lake's voice sounds nothing like it did when he did INTCOTCK or anything he subsequently recorded with ELP for that matter either. The second piece Mr. Wetton & Co. performed was Book of Saturday. This rendition was very stirring and hard hitting. Again, Mr. Wetton's vocals were aces. Sole Survivor as the third piece in the set- this was so-so. I was never an Asia fan. The following four pieces were from Mr. Wetton's days with UK. During the fifth piece (UK) Mr. Wetton's guitar became unplugged and he made a funny reference as he struggled to put the plug back in that women are much better at doing that sort of thing. The seventh piece was a great piano solo. The eighth piece entitled Arch Angel was excellent. Following that was another great work with the flautist re-emerging- explosive, in a word. The last two pieces were real gems from the past: Starless and Easy Money. These were delivered with great heart and with respect to the original versions. A few fans were yelling for the band to perform a few more Crimso tunes: Night Watch, Exiles, and Lament. Mr. Wetton replied to the fan wanting to hear Lament that he too Lamented (I suppose a nice English Way of saying No). All in all I thought the performance was well worth it and the boys in the band met my every expectation (They could have played a few more Crimson tunes). I was so inspired after the show that I ran down the block to Tower Records and purchased The Epitaph box set. For those of you who haven't bought it: Run and buy it! Keep Rockin', Aus (Matekudesy at aol dot com) ------------------------------ From: "Brown, Ken" Subject: Looking for Andy Rinehart cd Date: Mon, 09 Jun 97 11:05:00 EST Hi Everybody, I am really interested in finding Andy Rinehart cd "Jason's Chord' on CMP Records. It features Dave Torn and Mick Karn. If you have a copy and are willing to part with or know where I can get a copy please e-mail. I have tried to order it from several different mail order places but if they didn't have it in stock and they could not get it from CMP (who I hear was bought by another label) Keep the Faith (in the Music) Ken Brown (brownkj at imsint dot com) ------------------------------ From: Neil_Jones at tvo dot org Subject: Toronto Radio Stations Date: 09 Jun 1997 17:39:57 GMT Organization: TVOntario's Online System Hi, everyone. Two things to share, both heard on Toronto radio stations (88.1 CKLN and 89.5 CIUT, respectively): 1) A Pat Metheny improv, recorded live at The Knitting Factory. It's called "A Study In Scarlet" and reminded me very much of ThRaK aTTaK. An awesome barrage of noise. Apparently, it's 62 (!) minutes long, the station only played the first 8 minutes. It's from a 3-CD set called THE SIGN OF FOUR. IMHO, Metheny's an incredible and versatileQas his new CD with bassist Charlie Haden of ballads provesQplayer. * Anyone know anything about The Knitting Factory? I know Steve Nieve (of Elvis Costello fame) has played there. Anyone know of a catalogue of recordings made there? A website, perhaps? 2) An great version of "Red" by (forgive me if I'm wrong, I only caught the name in passing) Glueleg. Anyone have any information on this (CD title, etc.)? If you do, please share it. I'd love to add this to my collection. Hope anyone who stumbles across these recordings enjoys them as much as I did upon first hearing. Cheers, Neil_Jones at tvo dot org ------------------------------ Date: Mon, 09 Jun 1997 16:09:22 -0700 From: Josh Emery Organization: Emery Distributors, Inc. Subject: Manhatten and other missing songs > In the same et, Bill Cormier asks about KC "written" songs performed live > but never recorded or released. At one concert I attended (in Washington > D.C.) the 80's Crimson performed an instrumental piece identified as > "Manhattan" which had a rich, Gershwinesque melody and sounded like a > throwback to the 70's band. I've never heard anything like it on record/CD > - although I'd LIKE to. I'm pretty sure that Manhatten became Neurotica. I saw the 80s band a number of times and before BEAT was recorded they did a number the tunes that eventualy ended up on BEAT. A couple times Adrian introduced Neal and Jack and Me as his title but that Robert would call it Absent Lovers. I never heard a song at any of the shows that didn't show up on record later. You guys that did are IMHO, very lucky. Josh ------------------------------ Date: Mon, 9 Jun 1997 23:55:20 +0100 From: rolit at mbox dot vol dot it (Rolando Michelazzi) Subject: Giles Giles & Fripp: Megaton & O. Hello, Does anyone have some info about the CD "Megaton & O." by Giles, Giles & Fripp? I've seen it listed on an italian mail order catalogue. Cheers. Rolando. ------------------------------ From: mathias thallmayer Subject: Trey Gunn concert Date: Tue, 10 Jun 1997 01:42:07 -0400 (EDT) Trey Gunn's group was excellent. As good as his work on CD is, in live performance he is even better. An extremely good player on his Warr Touch Style guitar. And, his partner, Chris Cunningham (of Saqqara Dogs) was even betteron his Warr. Really incredible! These guys show how two Touch Style players can really work together. I'd love to see Chris worked into the Crimson family. Maybe something like Fripp, Bruford, Gunn, Cunningham. Wowsers! -- Mathias iconoclast at tarkus dot ocis dot temple dot edu ------------------------------ Date: Tue, 10 Jun 1997 09:56:16 +0000 From: Martin Bradburn Subject: Trey Gun Band, CGT, Paradise Boston 6/6/97 Dear Crimsonians - Last Friday my wife and I were privileged to see the Trey Gunn Band and The California Guitar Trio at the Paradise in Boston. The Paradise despite it's history is your typical grungy (look not music) club dark, with atrocious acoustics. I got to see the sound checks and knew it wouldn't be audiophile sound quality (few club concerts are). CGT opened with their new Ervin Somogyi built Wooden! (as Paul pointed out) guitars with the Novax fret system (See www.cgtrio.com for more info). The guitars look and sound fabulous, and the Trio seemed to have even more of an ensemble feeling than when I last saw them at Washington Sq. Church in NY. They played 3 or 4 pieces from their soon to be recorded 3rd Album. One piece was very dissonant and dynamic a definite Crim appeal. The sound problems seemed to effect the Bach pieces more than the rock or originals and I found them not having the impact of the renditions I have witnessed previously. "Punta Patri" one of my favorites was wonderful just a magical, moving, powerful piece. The "William Tell Overture" was a real crowd pleaser as were the surf tunes including "Miserlou". Following the intermission the Trey Gun Band played and I was really able to see some of the specific qualities of Trey's playing that sometimes gets lost in the 'Wall of Sound' at Crimson shows. His technique is stupifying and I found myself more that once jaw agape. The band despite their short rehearsal time really felt and sounded like a group effort and the enjoyment of the players definitely rubbed off on the audience. Chris Cunningham is a very different Warr player to Trey and had a loose jazzy feel that complemented Trey and added nicely to the mix. Tony Geballe on electric was a joy to watch and filled the sonic spectrum nicely although I would have like to hear him solo a little more. His technique very effortless. His playing in part, phrasing etc. reminded me alot of Robert, but with his own distinct flow. Bob Muller rounded out the quartet with and eclectic blend of percussion and trap kit both driving and reinforcing the plethora of time signatures and melodic lines explored during the evening. He had some wonderful middle eastern tones in some of the pieces and transitioned well between the percussion and kit. The only problems I had were once again sound related as some of the Warr patches/tones caused particularly nasty overtones/standing wave feedback that was annoying. Both groups returned for the encore, and after a false start (a sound person had unplugged the Trio). Did a rousing rendition of Bach's "Jesu, Joy of man's Desiring" and "Blockhead" with Bob Muller's percussion an excellent addition . The final song found the CGT returning into the audience unpluggged for "Melrose Ave" Phew, I was tired. If you don't have Trey's CD's I would highly recommend both of them and Tony Geballe's 'Native of the Rain' soon to be a DGM release (on 12 string NST) is a beauty a must for LoCG fans. My only disappointment was the lack of audience. There were a enthusiastic but not large crowd. We need to support these musicians. There is no reason in a music city the size of Boston that the place should have not been filled. How many ETers went, just curious? Well I can't think of a better way to spend a Friday night and if you have a chance to see either one of these groups take it, you won't regret it. - Martin ------------------------------ From: "d.j.mcallister" Subject: Drumming books Date: Tue, 10 Jun 1997 15:21:07 +0100 () Hi everyone, Just a quick call for help this time. My brother came into the room while I was watching the Live in Japan video, the other day, and his jaw dropped. "Dave", he gasped, "who are these phenomenal drummers?". I told him. "Dave", he intoned, evidently under their spell, "being a drummer myself I would be most interested to learn if there are any drumming publications, videos etc which I may use as a teaching aid by either of these two gentlemen. Please, could you ask on the 'net?". So, to keep a young man happy, does anyone know if either Bill Bruford of Pat Mastellotto have produced any such items? I thank you in advance. David McAllister P.S. As for tribute band names, how about the Regal Reds?!! ------------------------------ Date: Tue, 10 Jun 1997 20:59:07 -0400 (EDT) From: Carl Didur Subject: USA on Tape I recently took a trip to the local used record store and purchased (on tape) KING CRIMSON: USA. What I want to know is: Is this rare? I thought it was only temporarily released on vinyl or some such thing... The FAQ is not very specific and I'm curious... It's an EG Collectors Edition EGKCC-9, if that means anything to anyone. I love all the tracks and have gained the incentive to buy The Great Deciever. This has been my first exposure to live KC (other than SaBB, of course)... Thanks for any info... Carl Oh yes, I also had the good fortune to find a near-mint "Olias of Sunhillow" by Jon Anderson. Good album, great find...nice artwork. Exactly the sort of the thing you'd expect from Jon Anderson... -*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*- ------------------------------ Date: Tue, 10 Jun 1997 22:23:15 -0400 From: Edward Banatt Subject: CGT and Trey Gunn at the Bottom Line Hi ET, Quick glimpse of thursday's show (june 5) at Bottom Line. Went with my brother Bill. Drove by the theater, CGT posing for pix outside around 6 pm. Was that Bert Lams in the espresso shop? Show started at 7:30ish. First song, Yamanashi Blues. Paul Richards told the audience about their new guitars, a trio of guitars made in California by a Hungarian, very cool, custom made for NST. Set consisted of much new material, Beethoven's Fifth, Classical Gas (i think it's called), another Beethoven- presto agitato from Moonlight Sonata? (what happened to Bach? I thought, then some Bach later with Trey and Tony G.), William Tell overture (HI Ho Trio, away!), and encored with the theme from Pulp Fiction. I think my lower jaw is still on the floor there in the club next to my ticket stub. Also a Blockhead encore, done unplugged in the audience!!!! Trey Gunn band seemed loud for such a tiny club. Plans to rerelease Raw Power? I really like the Third Star, hope to see them tour with a vocalist. Who is Mavis? Any chance of a RFSQuintet reunion? Thanks for including the East Coast in your plans!! Globmobalooza the East Coast!! Eddie Banatt Fairlawn, NJ ebanatt at internexus dot net http://www.wp.com/EBANATT/ ------------------------------ Date: Wed, 11 Jun 1997 11:14:06 +0100 From: Ed Mayall Subject: Gates of Paradise Hullo, It's all a bit quiet on the Elephant front at the moment, which I can only assume is down to a problem with our moderator. With so many Fripperies going on all over the place, there can be no shortage of things about which to write. A week of Soundscapes in England began at the end of May with an eight hour epic in the Union Chapel in Islington. I was only able to attend the beginning of this and after 90 minutes was cursing my own musical commitments that meant I had to leave. I felt it was developing into something special. One thing that really intrigued me was how much of the 'scape is planned and how much left to pure chance: around 70 minutes in, Robert was laying down some great chords that actually almost sounded like they had come from a guitar and seemed heavily involved in where this was going when Dave Singleton brought him a cup of coffee. He immediately set down his guitar and let the music go its own way again for a while. The interuption thus become an integral part of the improvisation, but can it really have been what he wanted? After a week annoying / exhilarating the locals in Salisbury Cathedral, Robert was back in London with the entire DGM Team to sell lots of copies of the new Soundscapes set "Gates of Paradise". One problem with their approach here was that they didn't actually have any copies of the cd with them, so we had to be content with buying earlier 'scape discs, or a new single called Pie Jesu, which features three pieces from the Gates set (including Sometimes God Hides) plus Midnight Blue from Blessing of Tears. Or placing advance orders for Volume One of GoP. Following a cup of tea / lots of milling around / not buying the new cd we were shown up to an auditorium decorated with some of the most hideous high romantic art you could ever wish to disdain. Silence descended as Fripp entered, to be shortly replaced by around 30 mintues of some of the most terrifying sounds I have ever heard. Robert then announced that we had been listening to part of Gates of Paradise that was formerly available as 1999, but now remixed and repackaged as an extra disc with the box set. The five cd set, consisting largely of Soundscapes recorded last March in the Foyer of the Queen Elizabeth Hall, will be available in the autumn at a bargain(ish) price, with volume one available now, but left somewhere back down the M4. He then detailed his immediate plans (including the G3 tour, where he will be joining the three "stars" at the end for "My guitar wants to kill your Mamma" - met with considerable amusement) and introduced the DGM Team (or rather asked them to introduce themselves) and said that they will all be available for answering questions. Oddly enough all the questions were addressed to Robert. Big surprise that. After some forty minutes fielding queries, we were given a break to buy more (old) cd's and get them signed by himself, and then anyone interested / dedicated enough was invited back for more Q&A. Questions were asked on future DGM releases (Crimson archive recordings - 7 or 8 cd's worth apparently, with the Concertgebeow '73 performance the most imminent [and emminent?], plus collections from the '71/'72 and eighties line-ups - new albums from BB and TLev), democracy / dictatorship in Krimson (neither term fits) and upcoming collaborations. Oh, he also mentioned that a new Krimson album will be out in Jan '99, but before that rehearsal tapes will probably be made available: he considers these to be more interesting very often. They had been intending on bringing the tapes with them to the playback, but hadn't had the time to edit them. Why did he even mention that? Ho hum. Another thing - the new album may be made available in several different versions according to how the members of the band think it should be finished. He considers this an ideal solution. I have a problem, though: we're the ones who'll have to buy the bloody things. We will though won't we? Imagine the discussion on Elephant Talk should that come to pass... Following the break, Robert talked about the right time and the right question. This was the right time, but is the question you're going to ask the right one? An example of the wrong question at the wrong time: he was approached at 14:30 on June 3rd in Salisbury Cathedral, just as he was about to strap on his guitar: Can I ask you a silly question? Can I shake your hand? You are Robert Fripp aren't you? He then expounded on the political and economic situation in Argentina, where single mothers throw themselves under trains so that their children can be brought up as orphans by the state; where men have to queue for three days to get a job which won't pay them enough to feed their families; where despite this, people will risk losing their jobs just so that they can join a Guitar Craft course so that they can ask Robert Fripp a question: you can be pretty sure that their question will not be about the difference in the artwork for Lizard in the South and North American editions. It will be a seriously Burning Question. So: any questions? Of course, anything I had thought of asking just faded at this point: my questions might be thought of as vaguely smouldering. There were those who were less intimidated, and there followed a lively hour's discussion on Krimson anecdotes, the making of Islands, why there is no Fripp on Ashes to Ashes, JG Bennett and free will. And all we could come up with was "If Dolph Lundgren and Sylvester Stallone had a fight, who do you think would win?" Fortunately, that stayed quiet. Enough already. Ed ------------------------------ Date: Wed, 11 Jun 1997 17:19:59 +0100 (BST) From: Markus Schneemann Subject: fripp wired Hi folks, there's an article/interview with Fripp in the May 1997 number of the monthly music magazine WIRE. Is ET planning to include it in its INTERVIEW - "department"? I forgot the author's name, but he made some of the "usual"wrong statements about KC, e.g. that they reformed after each release etc.. WIRE specializes on so-called avantgarde/new wave music incl. classical music (this new romanticism-garbage included, unfortunately - but, surprisingly, reviewing Ferneyhough in a very positive way), jazz (cecil taylor, keith tippett etc.) and rock (THRaCKaTTaCK was judged by them to be amongst the best releases in 1996 !). Their homepage doesn't give access to full articles - so if you are keen to read or look at some stylish Fripp black&white photographs - buy it / rent it / or wait for ET to display it ! Cheers, Markus / Oxford schneema at icrf dot icnet dot uk ------------------------------ Subject: Re: Elephant Talk Digest #384 Date: Thu, 12 Jun 97 19:01:03 +0200 From: L-J Teitelbaum Hello, Does anyone know if a french KC tour is planned ? L-J ------------------------------ Date: Wed, 11 Jun 1997 14:45:25 -0600 (MDT) From: david craig Subject: Trading Recordings >I've got several great recordings from King Crimson's Thrak Tour 1995 that >I'm willing to trade. I'd like to trade for some other Crimson >recordings. If anyone has the Epitath box set and would like to trade for >three complete concert recordings E-Mail me. I'm an obsessive live music trader myself, and I've got to publically say, that this is completely unethical and unacceptable behaviour. Trading live recordings for other live recordings is, in spite of the honorable Fripp's objections, viewed by many of us not only as a private pleasure but also a public service. (I shan't argue the point here, beyond the observation that the world would be a much poorer place without the music of Jimi Hendrix -- and many others -- preserved by devoted fans.) Trading live recordings for commercially available material, on the other hand, is just plain stealing from the pockets of the band we love. Shame on you. Knock it off. ------------------------------ End of Elephant-Talk Digest #386 ********************************