Errors-To: admin at elephant-talk dot com Reply-To: newsletter at elephant-talk dot com Sender: newsletter at elephant-talk dot com Precedence: bulk From: newsletter at elephant-talk dot com To: newsletter at elephant-talk dot com Subject: Elephant Talk Digest #446 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 446 Tuesday, 16 December 1997 Today's Topics: Fripp and Fan Contact Soundscapes A funny thing happened on the way to G3 And Belew is Frankenstein the adjective "king crimson" Photographer at the Bottom Line Speaking, Flashing, and Why. Fantasizing a Levin/Gunn record Bite Me Bagel Boy fripp transcriptions Eno and Fripp, loops Fripp's comments in Birchmereif in fact re: bagel boy please..no reunion! photo slap Qs GIG REVIEWS Gig review: "An Evening of Space Music Plus....." Robert last night at The Bottom Line, NYC Dec 11th Philadelphia Soundscape performance review Gig review: Saturday, Dec 13 Bottom Line Second Show Jazz Cafe - Wed 3 Dec Gig review: Bottom Line: 12/13/97. The Stunted Gig Gig review: An evening with Fripp, and observations Gig review: Late show: Fripp at Bottom Line Gig review: space music shows Gig review: Soundscapes, etc. ------------------ A D M I N I S T R I V I A --------------------- POSTS: Please send all posts to newsletter at elephant-talk dot com To UNSUBSCRIBE, or to CHANGE ADDRESS: Send a message with a body of HELP to admin at elephant-talk dot com, or use the DIY list machine at http://www.elephant-talk.com/list/ to ASK FOR HELP about your ET subscription: Send a message to: help at elephant-talk dot com ETWEB: http://www.elephant-talk.com/ You can read the most recent seven editions of ET at http://www.elephant-talk.com/cgi-bin/newslet.pl IRC: Regular get-togethers at #ElephantTalk on Undernet Sundays at Noon PST / 3pm EST / 8pm GMT Mondays at 6pm PST / 9pm EST / 2am GMT 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 --------------------- Date: Sun, 14 Dec 1997 12:40:08 -0700 From: Herb Heinz Subject: Fripp and Fan Contact In response to Grant's response to my post: I agree that it would be unreasonable to expect any artist to always feel like talking to their audience. I do not feel that this is ever an audience member's "right". Obviously there are times when the artist does not want to be interrupted, whatever the reason, and this should be respected. I also agree with you that there must be plenty of less-than-interesting or even embarrassing encounters for someone like Fripp. What I do think is that most artists do appreciate some sort of feedback (beyond applause or record sales) from their audience from time to time. It may be that someone of Fripp's popularity would prefer to never have an audience member try to talk directly to him. Or he may occasionally appreciate these encounters. I don't know the answer, but I'm curious. It seems to me that we as potential "artist encounterers" need to be sensitive, and try not to approach an artist who seems uninterestsed. ----- Herb Heinz herb at isproductions dot com http://www.isproductions.com/herb ------------------------------ Date: Sun, 14 Dec 1997 22:43:49 +0000 From: Sid Smith Subject: Soundscapes In et 444, Eric Rosenberg complained about Fripp having already started playing at a time earlier than stated on the concert publicity. Well, I can't be sure about this but my guess is that this has something to do with the process by which Soundscapes appear to evolve and grow. In my limited experience, these performances don't seem to be like a straight forward concert or recital where a performer goes through a songbook or pre-determined structure or fast fingers his/her way through a technique exhibition. Though Soundscapes may share many qualities and textures, they appear (to this listener at least) to be entirely improvised and in that sense unique. I imagine that when one is playing with so few notes, as a performer you'd want to play the "right" notes. This must take some concentration and preparation (RF has often talked in his liner notes about "letting the music in".) Once again my guess is that a flash photo in the face or somebody wandering up and asking for an autograph, etc., no matter how well intentioned, is bound to have an effect on the music and its development that evening. In respect of starting early, perhaps Fripp wanted that extra time to let the "feel" or spirit of the piece establish itself. Whilst I understand the sense that one might have missed out on something, maybe RF needed that extra "building time" on that particular night ? Whilst complaining about Fripp addressing the audience, etc., Eric doesn't appear to mention whether or not the music was any good or not. Elsewhere in et444, mention was made about people wandering around and others talking. Once again I would venture that this behaviour is part and parcel of the Soundscape experience. Earlier this year I was able to attend one of the Salisbury Cathedral 'scapes. In such a venue, it certainly added to the whole experience by being able to wander around and hear the sounds from different perspectives. ------------------------------ From: "Denis Robitaille" , ca at bach dot videotron dot net Subject: A funny thing happened on the way to G3 Date: Sun, 14 Dec 1997 19:04:02 -0500 Just a quick one heard at the G3 performance in Quebec City, last summer. (Fripp is on stage playing ,while the audience comes in.) A ( Satriani-Vai fan):"Yeah, I heard that this Fripp guy is pretty heavy..." B ( Just enjoying the Soundscapes):" Well, that's him on stage right now." A :" Really ? When does he start playing ?" B :"That IS his set ! He's going trough it RIGHT NOW!" A :"C'mon man! He's just making his sound-check..." B :Explains the Soundscape. A :"Oh...(pause, looks at the stage, jaw drops slightly)oh well...that stuff is OK "(Turns back and goes to the bar.) B and friend :Laughing their heart out!! Denis Robitaille Q.C. Canada drob at oricom dot ca ------------------------------ From: "Dan Wasser" Subject: And Belew is Frankenstein Date: Sun, 14 Dec 1997 22:19:44 -0000 Mike McGrath wrote in #444: >Subject: A Little Respect > >signs were clearly visible that no photos were allowed ...... >lighting disturbing to him....... >staring into the light for about thirty seconds until it was turned down...... >was NEVER highlighted with stage lighting..... And, my own comment: when I saw KC in August '96, Fripp was definitely in the shadows. Oh, now I see .... wait a minute ......WAIT A MINUTE! FRIPP's A VAMPIRE!!!!!! Aiiiiyyeeeeeeeeee! Dan ------------------------------ Date: Sun, 14 Dec 1997 20:42:33 -0800 (PST) From: Ryan S Subject: the adjective "king crimson" Hello all. I'm sick and tired of seeing a band being compared to king crimson. In many reviews ( usually bad ) bands are "like king crimson" in some way. Usually it has something to do with a band using a flatted fifth or a strange effect or time signature. No band is really like crimson, because of their orignality and extreme ditinctiveness. When crappy alternative bands are discribed this way, it degrades the work and reputation of this great band. by the way, If anyone knows or is a musician in the east Cleveland suburbs looking for a bassist, PLEASE e-mail me. Thanx RS _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Mon, 15 Dec 1997 00:14:34 -0500 From: Steve Smith Subject: Photographer at the Bottom Line > From: Michael Garnice <74762 dot 304 at compuserve dot com> [snippage of a very fine review of Saturday night's show at the Bottom Line] > But at about 8:15 a flash photo led to a familiar unhappy sequence: A glare > in that direction from Robert and an exit from the stage. It was pretty easy to tell how many ETers were in the audience by the number of boos, hisses and derisive "congratulations" cast in the direction of the photographer. Now I'd like to be openminded and assume that the person in question "didn't know" - the soundscapes were already started when I arrived at 7 p.m., so I have no idea whether there was ever an announcement stating the photos / no recorders policy. You'd think people would know by now that it's generally verboten, and of course there's the possibility that the person was just a self-centered jerk who took what he or she wanted, whether or not he/she was aware of the likely results. Anyway, I'm glad Fripp agreed to come back and unlike Michael quite enjoyed the darker, more aggressive edge to the post-break music. Now the folks who were really pissing me off were the clowns sitting two tables away who were fake snoring, jeering, making rude remarks ("I'll give you $20 if you don't come back and play more") and singing Rush lyrics during quiet points ("By-Tor and the Snow Dog," anyone?). They were completely antithetical to the vibe of the evening, and I'm glad they weren't quite loud enough for Fripp to have heard... I wouldn't want to think about those "punitive damages." Personally I was just about ready to offer the four of them a full refund if they would leave and go listen to Power Windows, the Rush cover band playing over on Bleecker Street. In general I would agree with everything stated in Michael's post, though I have to admit that as far as setting is concerned, the Bottom Line may be venerable but I for one really preferred the setting and acoustics of the show at Washington Square Church a few years back. And was I the only one who thought the Bottom Line's PA sucked and was always right on the edge of distortion? Anyway, it was a fine evening of music and I also got to pick up incredibly inexpensive copies of "November Suite" and "Pie Jesu." Damn shame about the scotched Q&A, though...I, too, was sorting through questions in my head ("Will any music from the ProjeCKts be issued? Is the New York "Night Watch" playback confirmed for January 17th?"). Granted, the answers to both of the above might be contained in this very issue of ET (I skipped straight to Michael's review after reading the subject lines for the issue), but it's during last night's show that they occured to me... :-) Steve Smith ssmith36 at sprynet dot com P.S. Thanks very much to everyone who responded to my query about the "Night Watch" enhancements. In my case the correct answer was that I bought one from the unenhanced first batch. Guess if there's a playback in New York next month then that's where I'll be getting my enhanced version.) ------------------------------ Date: Mon, 15 Dec 1997 00:48:08 -0500 (EST) From: CWA Subject: Speaking, Flashing, and Why. Poor Robert Fripp must feel as though he really can't win. Throughout my time on this list and as a KC fan (about a year and a half) and through reading back interviews / reviews etc. I have seen an enormous ammount of criticism regarding Fripps stage demanor...or supposed lack thereof, for the most part. Fripp stands in the shadows, he wont speak, he looks around like he doesn't care, he runs away if I try to accost him, why does he have such a tude? .... etc. For some reason, nothing seems to fascinate us ET'ers more than "Robert ONSTAGE" in a all its various guises (except maybe Frank Zappa...whoops. nevermind. banned already...) In any case, in the last few ET's and 444 in particular, I have seen evidence of Fripp's increasing interaction with the audience. Quite a departue, it would seem, from his normal "'tude" (and I put that in BIG quotes) wouldn't you say? And then we get a post like Eric's. Without reviewing the post line by line, a few things. First of all, I think its obvious by now to list readers (although this is somthing we shouldn't expect most or many people to know) that Soundscapes start before the scheduled begining of a peformance. Obviously, the loop is supposed to be "up and running" as the audience enters the hall. Like everything else, I'm quite sure there is a reason for this...an "aim" perhaps. That one specific aside, a few general observations. 1) I'm curious as to another of Fripp's aims...namely, the reason behind this increased audience interaction, if any. I personaly happen to be very excitied by this perhaps temperorary turn of events, but I'd be curious to know Fripp's reasons for it. 2) The nature of Eric's post, if nothign else, should convince us of one thing: it is quite impossible to make all audience members happy all the time. Finaly, Fripp comes out of the woodwork and what happens?? He get blasted for it. So, what this means is simple. A performer should do whatever he damn well feels like onstage. Jump around screaming. Hide under a basket. Stand upside-down in a vat of jello. Because you know what? Someone will always complain. Lastly, to those who have taken those damn flash photos (not on this list I'm sure, but a cry to the heavens)... Go to hell. I'm tired of reading about performences marred by flashbulbs. Its rude. In some cases (like the jazz cafe) it was forbidden by signs. This goes beyond any philisophical debate about audience-performer interaction. Its just plain discourteous.If I'm tired of reading about this, I cant imagine what it must have been like to see it from the audience. I cant even imagine what it must've been like to see it onstage. Sorry about the length everybody... Chris ps- for anyone interested in continuing the Zappa thread (as it relates to KC only, for now) drop me a private email. I was hoping this thread would at least get the airtime of the "Six Degrees" thing, but oh well. In spite of that, Toby, really, thanks for a great list. ------------------------------ Date: Mon, 15 Dec 1997 04:43:26 -0500 (EST) From: KenLac at aol dot com Subject: Fantasizing a Levin/Gunn record Another marketing suggestion from the randomly firing synapses of a true crimhead: Just saw the "Live in Japan" video and was mesmerized by the Levin/Gunn "Two Sticks" interlude. Anyone else share my conviction that it would be a wonderful thing for the universe at large if they did a Stick duet record? Ken Lacouture ------------------------------ Date: Mon, 15 Dec 1997 9:15:40 -0500 From: DAN at ELIZPL dot ORG Subject: Bite Me Bagel Boy Could it be that someone in the band is a fan of the Drew Carey Show? Every week, Mimi, a very colorful character and Drew's arch nemesis tells Drew "bite me (fill in the blank)" A few weeks ago, her new favorite was "bite me bagel boy"... Cheers! Dan ------------------------------ From: THERESE BJORN Organization: S.O.A.S. Date: Mon, 15 Dec 1997 15:15:37 GMT Subject: fripp transcriptions hello.could you please tell me if you know of any one who has transcribed "still point" from "i advance masked and "man with an open heart" from "three of a perfect pair".many thanks.iain ------------------------------ Date: Mon, 15 Dec 1997 10:18:34 -0500 (EST) From: Patrick West/Red Shift Subject: Eno and Fripp, loops Greetings to all, I purchased Brian Eno's discreet music quite a while ago to try to mimic his looping system. However I'm not quit sure about how you link up the two reel-reel decks. If anyone knows how please respond to this subject. I have been creating soundscapes for about 4 months now and have had 3 showings already. I usually use my roland juno-60 synth to create a a texture of sound I find applicable then run it through an old 12-band eq, from there it goes to a distortion pedal and then to a fx processor that has a delay. My most recent gig was at a local coffee house ( I live in Traverse City, MI for anyone who wonders) and asked the guitarist in my band to join me as well as another guitarist from a band which plays with us alot. I find it amusing that people look at me strange when I perform soundscapes. The community up here is not very enlightened on the subject. I am the percussionist for a band called Redshift, so people find it strange to see me sitting behind a sythesizer and not my kit. Anyways The other two guitarists played some delayed and distorted sounds over mine, however being a percussionist I felt the whole soundscape needed a pulse. I also had with me My rhodes piano, with this I took off the top so the tines were exposed. The rhodes went to a electro-harmonix instant replay! very cool, I had some bells mallets with me and began playing the tines of the rhodes to create a rhythm. Over this I had a turntable going with an old nature recording of birds chirping. To bring a long story to an abrupt end, I would like to know about the eno tape loop as well as comments from anyone else who performs soundscapes!! RedShift (C/O Patrick West) email- red5_sb at yahoo dot com Phone: 616-946-1876 ------------------------------ Date: Mon, 15 Dec 1997 09:03:48 -0700 From: "christopher trionfo" Subject: Fripp's comments in Birchmereif in fact Organization: MailExcite (http://www.mailexcite.com) if in fact Fripp's comments regarding ET are true; that he wishes it did not exist, i must refer him to the Metaphysical Handbook, Chapter 1: Create your own Reality. Robert, do not read ET, and poooof!, it no longer exists. --- chris the infidel Free web-based email, Forever, From anywhere! http://www.mailexcite.com ------------------------------ Date: Mon, 15 Dec 1997 12:52:38 -0800 From: David M Way <001 dot dmway at imail dot san-antonio dot isd dot tenet dot edu> Organization: Brackenridge H.S. Subject: re: bagel boy Fellow E.T.ers, While I'm sure that both Tony and Robert might have been the "bagel boy", let me offer another suggestion. From "The Great Deceiver" booklet, one finds that the band had nicknames for one another that usually employed the recipient's initials, e.g. (no pun intended!), Bartley Butsford = Bill Bruford. Might Bill be our "Bagel Boy"? (Let's hope this is the last post about this bit of trivia!) Cheers! David Way ------------------------------ Date: Mon, 15 Dec 1997 14:49:59 -0500 From: Darren Franck Subject: please..no reunion! A fellow West Virginian suggested something in ET #444 that raised my hair on end.... ...a reunion tour. I think Bill Bruford would have some worthy insight, such as "Don't do it!". Not that we have to worry. Even if Fripp's mind is somehow taken over by Jon Anderson, I think that the other band members would have the presence of mind to perform an exorcism. KC has certainly avoided the dinosaur tag (atleast in our minds), and a reunion tour is the first sign of a cro-magnun band. As for the perception that all of these re-releases/live recordings/compilations /remasterings are just a way for them to make money....I agree. Not that it is necessarily bad. I think this is probobly the only way they see a profit. Considering the large costs of producing a studio album, contrasted with the minute cost of the re-releases, and its no wonder why they do it....to survive. I seriously doubt that Thrak brought in more money that it took to produce it, and if it did, the margin was minimal. By the way, that "Exclusive Preview of the New KC Album" was very cruel...I was half-way through it (and excited as hell) before I figured out that it was a joke. Just curious....where exactly were the West Virginia Guitar Craft classes? One more thing...I'm from Charleston WV and I've only chewed "tobaccie" once...nearly puked. ------------------------------ Date: Mon, 15 Dec 97 14:30:34 -0500 From: "Marc I Roemer" Subject: photo slap I don't think it should take a genius to figure why Fripp objects to flash photography during a performance. What would you do if someone flashed a light in your face while you were composing a poem? Just continue as if nothing had happened? Wouldn't you stop to get your bearings? I don't see Fripp's exit after the flash hit him Saturday night as a punishment for the audience any more than technical difficulties at the Birchmere were a punishment. The flash short-circuits the musician. Marc ------------------------------ Date: Mon, 15 Dec 97 14:55:28 -0500 From: "Marc I Roemer" Subject: Qs Here they are - the dumbest questions ever asked (and taken under careful consideration) at a Soundscapes Q&A session! 1. Have you ever thought of having your own TV show or movie? RF: No. Short answer, no. Long answer, nnnnnnnno. 2. What do you do when you go backstage? RF: It varies. Which time? 3. Dwanna hava drink? RF: Er, no, thank you sir, you go right ahead. ------------------------------ GIG REVIEWS Date: Sun, 14 Dec 1997 12:56:59 -0500 From: Edward Banatt Subject: Gig review: "An Evening of Space Music Plus....." Hello ET, Time to delurk to talk a little about the Bottom Line (10:30) performance of "bleeping and droning sounds" followed by Q+A with Bob. Wandered in to club a little after ten, Robert was already onstage, making some interesting sounds. Club contents very talkative. A little after 10:30, he increased the volume, and the lights dimmed. I had some expectations, both of soundscapes and of Mr. F, and both were wiped clean from the slate. Fripp appeared the mysterious and enigmatic character I imagined him to be, putting his guitar down on several occasions to disappear behind the black curtain, and reappear left of stage. He looked several times out to the audience. I believed this was his time to watch for bootleggers. :) After his first number, the audience had its first taste of RF as "Mr Nice Guy" , as he granted permission to talk and wander about, and to "lighten up" !! This would not be the only time he extracted laughter from the "party". At this point I mentioned to my brother that he should take a good look in the mirror. Then the audience had its first of a few casualties. Two earnest looking guys made for the door and one of them remarked "ppppssshhhh yeah, right!" A few others followed without incident. Soundscapes performance was very thought provoking and dreamlike, my head was spinning, and I can't attribute it all to the antihistamine I took before the show. (God help me if I sneeze and interrupt the performance!!) Sorry we missed the first set, which sold out. Then, some thing wonderful happened to the Grinch, I mean, Mr. Fripp. He asked the audience if we had any questions???!!! Mine was answered, were the Project One and Two sessions recorded, and will they be available. Yes. YES. Some questions he half answered as cleverly as any politician. He was very pleasant, and not the Cowardly/Antisocial/Fill in the Blank often described to be. He asked how many were ETers in the audience, and I was surprised to discover I was in good company! In his closing remarks, he thanked the audience, not as a character reading a script but from the bottom of his heart. (I'm weeping, it's not the flu) Very entertaining, especially when Bob took to his feet. ------------------------------ Date: Sun, 14 Dec 1997 14:21:40 +0300 From: Selinsky Organization: AT&T Subject: Robert last night at The Bottom Line, NYC Last night, I had the pleasure of seeing Robert Fripp perform his Soundscapes, or what is now referred to as Space Music, at the Bottom Line in Manhattan. It's the very first time I've heard anything Robert did outside of Crimson, so it was an exciting experience. There were two shows, I came to the later one (some people stayed for both). As I came in, I was able to get a very close seat to the stage, and saw Robert in the background talking to some VIPS. Then, he got on stage, and began a pretty noisy soundscape. He used the guitar synth for all of his sounds. The lights dimmed, and Robert was the only visible presence in his completely black "Soundscapes" uniform, illuminated in blue and white. Robert occasionally would turn around on his stool, monitoring his pedalboard, and would tweak his rack, with a very sublte studied expression on his face. He never looked at the audience. It's amazing that he barely plays. Mostly, he just "seeds" his looping devices with notes, and they repeat over eachother forever, coalescing and creating new chords. Oftentimes, Robert would walk off stage, and the soundscapes would continue to go on for minutes. Once, he even stood by his rack, lit from the bottom by his equipment, listening. One guy across the table from me started snapping pictures. He didn't have a flash, thank God, so nothing transpired. It did feel a bit awkward, though, I can understand Robert's feelings about "theft of the moment". After about an hour, he walked up to the mike, and said "If you'd like to talk, or get up and walk around, please feel free to do so. Please don't think of this as any ordinary western concert performance. The only thing I ask is for you to refrain from photography or recording. " Then, he thanked the crowd, and said "Lighten up!". Everybody laughed and applauded. He continued his scapes. One audience member was being a wise guy, and in response, Fripp began a loud room shaking series of notes, which soon got everyone quiet! Many of the scapes were very trance inducing. I strongly reccomend bringing a girl to this performance - many couples were relaxed and in embrace, while listening to Robert's soundscapes. After his last soundscape, Robert once again approached the mic. He said "During the course of these shows, I had several people approach me, mostly young enthusiastic men, with very serious expressions on their faces, as if they had something of great importance to tell me. Well, here's your chance to tell me!" One guy, right next to me, began saying "You said in your linear notes...", when Robert interrupted "You see!". Everyone laughed. Robert talked about his soundscapes, and how they "educated" him, by listening to them after his performance, about his feelings in music. Some questions were asked about his soundscapes. Each time someone would ask, Robert would cup his hand to his ear, to listen. One thing Robert mentioned was that often audiences would focus on him during the soundscapes, which puts the pressure on him to entertain. To that he added "that is something I cannot guarantee". Fripp spoke about relaxation, about music's nature, about the limitations of his old Revoxes, and about how the title "Space Music" was actually chosen by the NEA, when he did a concert for them in Nashville. He also discussed the Projekt 2 and 1. He mentioned he wasn't pleased with Projekt 2's live date on Wednesday, but on Thursday, he mentioned that the group had achieved an "open space" in performance that he hadn't experienced in a long time. He also said that the live Projekt performances are being readied for a double disc release. Amidst other news, he said that the Night Watch Release party will be held on January 17, in NYC, at an HMV record store still yet to be decided, where all the old '73 KC crew would be present. This was recieved enthusiastically. He also asked "How many of you subscribe to Elephant Talk?" I was amidst the several whom was able to cheer and raise my hand. Some sillier questions were asked, one of which was "Did you ever consider having your own TV show, or your own film". Fripp paused for a second. Someone yelled out "Fripp the motion picture!". Fripp then responded "The short answer to that is no. The long answer to that, is noooooo!". Another guy stood up by the stage, and said "I'm going to go get a drink, you want one?" to which Robert said "No thank you sir, but you please do go get a drink!". Someone also asked "What do you do when you go backstage?" Fripp responds "Which time? You tell me" "The third time!" "That time I was talking to Bob, and I asked him 'What shall I play?'"Fripp is not only a good musician, but an excellent stand up comedian. The audience loved him. He thanked everyone from his heart for their attention and patience, and as the audience rapturously applauded him, he walked around the stage, applauding them. All in all, it was a very new experience, and very unusual. One who goes to a Soundscapes concert is not to bring a desire to hear a musical performance, but to spend an evening with Robert's emotions and presence, which is amazing in itself. New York was an excellent audience in that respect. Thank you, Robert! - George. ------------------------------ From: "Karl E. Breiner" Subject: Dec 11th Philadelphia Soundscape performance review Date: Sun, 14 Dec 1997 16:03:08 -0500 Hello ETers, I had the distinct pleasure of hearing Robert Fripp play a Soundscape performance, appropriately dubbed "An Evening of Space Music," at the Painted Bride Arts Center in Philadelphia. The performance began promptly at 8:00pm and, having struggled slightly to pinpoint the location of the Painted Bride, I arrived a minute or two into Robert's opening remarks encouraging his audience to sit back, relax and enjoy a cup of joe during the performance. More people shuffled in as Robert started playing, until the small theatre was just about full (about 60 people or so). The performance. Robert played straight through for 1 1/2 hours, after which he thanked the audience for their patience and opened the floor to questions. For about 1/2 hour a friendly and jocose Mr. Fripp answered questions and entertained us with some anecdotes about his many years in the music business. The very intimate setting of this concert was quite a unique experience in itself, given the popularity of, say, King Crimson. People were free to sit or lay down right on the stage, and pillows were provided for those who desired to do so. Robert would play for a while, then put down his guitar and walk to the side of the stage while his Soundscapes continued to fill the air. This he did repeatedly, much to the vocalized dismay of an audient sitting next to me. I personally had no complaints. It seems to be a different way of creating music than perhaps a lot of people are used to, but for all the pedal pushing, knob turning, and 'bleeping and droning,' it's still music. The music. The first few notes were so quiet that they were almost difficult to hear among the shuffling feet and other background noises. Soon the lenitive grace of notes trailing into space gradually engulfed one's attention. Then, dissonant polychromatic chords sent the listener crashing back to earth, after which the calm once again returned. The most memorable was the last Soundscape, a sonorous and captivating piece of music reminiscent of a church organ. Soundscapes certainly did seem to take on a life of their own, from the truly terrifying to the all-together awe-inspiring... -Karl ------------------------------ Date: Sun, 14 Dec 1997 22:55:06 -0500 From: "William F. Pittock" Subject: Gig review: Saturday, Dec 13 Bottom Line Second Show I had tickets for both shows at the Bottom Line Saturday but was forced to miss the first show when a family Christmas Tree hunting trip stretched on too long. With this disappointment, I arrived extra early for the second show and waited as third on line until the 10 pm admittance. The first sign of an interesting evening came when the first show let out not much after 9 PM. The first wave out the door were obviously the 'date night' crowd unfamiliar with Soundscapes and perhaps Fripp - at least four concertgoers had comments for the waiting queue like "if you have tickets, burn them", "well, THAT was an interesting evening", and the like. The next wave out the door had more useful information - one young man addressed the line and commanded 'Now everyone here be sure that you have a working flash camera and use it inside!'. Several of us groaned and said - 'oh, not again!' While I hoped that the second show would afford Robert a chance to spend time in music and discussion without the pressure of a following performance, we were now concerned that his mood might be lost for the evening. To be sure, the staff of the Bottom Line made no attempt to inform anyone of prohibitions on photography or even recording. Following my rude frisking at the Longacre last year (they missed my small 35 mm with ultra hi-speed film in the hem of my trenchcoat), I was marveling that I could have brought my view camera or reel-to-reel inside without notice. Once inside, Robert came out about quarter after ten to begin the music as the crowd continued to settle, eat and drink. He worked on setting up some layers for a few minutes and left the music to wander the backstage. I don't feel competent to critique or even comment on Robert's music but this was my first exposure to live Soundscapes - it was personally enthralling and the effect on the audience was ultimately powerful with extreme concentration and appreciation. This crowd appeared to be populated with those having more appreciation (or at least expectations) of Robert's music. Perhaps halfway through the performance, Robert rose to the microphone, thanked the crowd for coming, and made a statement something to the effect that this performance should not be approached in a Western fashion, and that he planned to walk through the crowd to be available for discussion (!!!) while the performance ensued, making but three requests - no recording, no photography, and 'for heaven's sake lighten up!' While he walked to the back of the stage (and off stage) several times during the evening, he did not approach the audience until the end of the performance. When the performance ended towards midnight (somewhat longer than the first show), Robert again took the mike and requested questions, noting that he is forever being approached by 'earnest young men' and that this is now their chance. Immediately, he was proven right by requests for interpretations of liner notes, but he worked to take the time to think through his answers and then present responses in a thoughtful fashion. To break the pattern, he then asked for any questions by FEMALE attendees - and it took some time before one or two offered questions. He seemed to make himself available for as long as the questions prevailed, discussing ProjeKt One and ProjeKt Two, and the forthcoming issuance of Night Watch in the US. The most interesting passages were his descriptions of recent performances - those that he felt were wanting and those which turned out to be unexpectedly rewarding. Most interesting statements of the evening - -- Robert will next appear in New York on January 17 at a HMV Record Store (which one as yet undetermined) with the ENTIRE line-up of 1973 King Crimson (yes, my mouth dropped...) to present the US release of Night Watch. -- Both ProjeKt One and ProjeKt Two are being prepared for release on CD in 1998 -- The evening was entitled 'An evening of Space Music' - when asked why space music, he related a story concerning Adrian and the National Endowment for the Arts (I missed some of the details of the story), in which someone was trying to describe Robert's music, summing it up with the statement "Eno is ambient music. Fripp, he does space music..." Thinking about that, Robert said that he liked the description because it created no expectations in the classification. All in all, it was for me a superb evening of excellent performance and increased insight into the man and the music. -- Bill Pittock ------------------------------ Date: Mon, 15 Dec 1997 10:36:27 +0000 (GMT) From: Dr Richard Beck Subject: Jazz Cafe - Wed 3 Dec Hi All, I just thought I'd add my (late) review of the ProjeKCt One gig at the Jazz Cafe last Wednesday to those that have been posted here. I'm afraid I arrived late (9.15) as we'd just come from a restaurant whose service was a bit slow. We therefore missed the Soundscapes others have mentioned. I was staking what little credibilty I had at my work-place by bringing along some colleagues, so was entering with a degreee of trepidation (for me, the band could have played anything - I doubt my friends held a similar view). I'm not sure of the relationship (if any) between cause and effect, but I've never seen such a high proportion of people above six feet tall in my life. I'm 6'3" and am usually okay at standing gigs, but I had difficulty in getting a clear view of the whole stage - I dread to think what my friends saw. I was also impressed to see a good number of females present, after a guy I'm in contact with on the Gentle Giant list said there were only three ladies the preceding night. Anyway - the music. There were a few ropey moments, but generally the music flowed with a great deal of energy and feeling. Bill and Tony seemed to be having a really good time, and the interplay the two was, at times, brilliant. However, during the first half of the gig Bill seemed frustrated at not catching Tony's eye more often. Trey was taking the lead part for most of the night, layering sound above the rhythm (as one does, I guess). I could only see Robert in profile as he was standing with his back to the audience, half-turned, all night. As usual it was difficult to guage his feelings. For most of the night he was content to play sustained chords over the rest, with the odd, choppy, bell-like sounds added. The only piece which never gained momentum was one in which Bill laid down a complex drum pattern (don't ask me the time signature). Instead of building a riff onto it, the other three played complex 'noodley' bits of their own. After a while, Bill seemed to get fed up and stopped playing, at which point the audience decided it had finished and started clapping! One of the hightlights was a stick/gtr trio, during which Bill stood behind his kit and watched the audience. He looked to be enjoying the music as much as I was. Towards the end of the night, I could have sworn I heard a riff from 21stCSM played by Robert as he soared above the playing in what turned out to be the last song. By the third night, it appeared that Trey and Tony had worked out some riffs to play together - it looked far too accomplished to have been spontaneous, but who knows? I was disappointed when the band left, and was surprised that it was almost 11.15 by then. Time flies etc... The overall impressions from my friends were very favourable. I'm sure I could persuade them to accompany me to future gigs. Thanks to the band, and I look forward to further ProjeKCts. Yours rb P.S. I'm glad to report very few flashbulbs going off that I can remember. I must admit I was unimpressed by the stories from other night. Try ISO 1000, if you really must. P.P.S. Following from a recent post, Trey's electronic gadgetry was scrolling the message 'BITE ME BAGEL BOY' at regular intervals, at least from where I was standing. P.P.P.S. Could anyone tell me [privately] how I could book a table in the JC restaurant, for future ref (i.e. do I book a gig ticket and then the table?). What's the sound like up there? ------------------------------ From: ganderso at notes dot cc dot bellcore dot com Date: Mon, 15 Dec 1997 10:20:15 -0500 Subject: Gig review: Bottom Line: 12/13/97. The Stunted Gig I attended the first show at NYCs' bottom line on Saturday 12/13. The event was marred by sound problems as well as an unbelievably dim-witted flash photographer. Moreover, I was again forced to encounter Fripp's conception of a musical event. Actually, when the gig "started", my initial impulse was that i just wanted to keep talking and drinking beer with some hungarian friends I had in tow (one of which was visiting from Budhapest and had never heard of fripp or KC). As has been described before, someone in the audience ssshhhh'd the crowd, and Fripp then promptly un-ssshh'd us, telling us we by no means had to keep quite, but could do as we pleased (he added that being New Yorkers, we'd probably do that anyway). But from the start technical dificulties seemd to plague the performance--a sort of rain-like hash infected any louder passage (which caused techs to come out on stage and try to eliminate the source at one point). Fripp fidgeted and swerved, trying different sounds and approaches. But despite some cool sound and lines every now and then, I felt like we had been hoovering at low altidue in some form of aircraft, searching for a break in the clouds to climb higher. Eventually, after a couple of breaks, Fripp seemed to find a wave to ride. But just after it seemed to get going, a flash photograph caused Fripp's head to sort of buffet back and forth in pure annoyance. Fripp promptly unstrapped his guitar and left. My impression here was not so much that "Fripp was mad because someone did something he doesn't approve of", but that after all the problems and false starts, when the music itself seemed to FINALLY get going, for someone to flash photo at that moment, snapping the performer's concentration was the height of insensitivity. Where had that guy been until then? Fripp came out one more time and cranked out an interesting piece, but then that was it. The impression of my colleagues was that the show never really got going. They DID marvel at the fact that there was no clear beginning or end to the performance. One of them said that "the fact he was playing the guitar was almost irrelevant--the instrument seemed to set the initial conditions for a trajectory he had no control over". As for myself, i have had two distnct voices in me arguing over how I felt. They are: THE CYNIC Fripp is basically a rock diva. So what if "it didn't happen" that night. Lots of world class artist go out there and fake it if they have to, and if something special happens then it happens. most people will never be the wiser anyway. Look, $20 isn't a ton of dough these days, but we did pay it so stop being so prissy and at least crank out some of those glorious lines you've developed over the years. For us to regard music as "out there" and not ultimately in the hands of the artist is ultimately a surrender to (Fripp's) odd cult of personality. Why is it that time after time I keep stumbling over Fripp's beliefs? (Like getting frisked at the Savoy.) THE TRUE BELIEVER What we payed for was not so much the right to have the light switched on for an hour or two on the machinery of musical performance, but to step through a door or window to witness an ongoing process. Fripp is basically engaging in an honest dialogue with this thing that ultimately can not be programmed or scheduled for any single time. He searched, and tried to ascend to the holy of holies with an audinece in tow, but it just didn't happen tonight. Which voice will I follow in thinking about that evening? Maybe neither, exactly. The cynic is good at defending me, and has probably kept me from surrendering soverignity over to someone/something else. I cannot surrender to the true believer without betraying part of myself. But I must acknowledge that there are moments in music, and life, that have an odd luminous quality. Fripp's work is a pursuit of this "cloud of unknowing". So I guess i straddle the fence. At the same time, however, even if we do not accept the idea that music is "out there", an impersonal force, it is clear that this man Robert fripp DOES believe this. Whether or not some of what the true believer says is objectively true, Fripp is a man who has made decisions about his work and art, and has lived by them. He seems to have been true to his own nature at least, and that alone is important. Fripp's music is a direct function of his personality, so that if we wish to experience this music, I (at least) must surrender (for an hour or two) to fripp's concept of the event too. And i feel less wary of this surrender these days, particularly after reading his occasional posts whereby he acknowledges his own brokeness. Fripp is not a musical prophet, but doing what he must. And in this, i guess, there can be no real blame. And then again, perhaps by the fact that it was clear (to even the drunk at our long table) that "nothing happened", we acknowledge that something could. And I guess the fact that Fripp didn't even really try to cover up the non-event is reason to trust for another time. -Emory ------------------------------ From: Terrence Dorsey Subject: Gig review: An evening with Fripp, and observations Date: Mon, 15 Dec 1997 09:12:31 -0800 I attended the 13 December "Evening with Robert Fripp" at the Bottom Line in NYC. Michael Garnice really summed up the show well in ET #444, so I won't repeat what he's already said. I showed up rather late (7:00) to find the show sold out, so thanks to the fellow who sold me his extra ticket. And I really enjoyed Mr. Fripp's playing, so thanks to him as well. Some observations: 1) I think we all know by now that Mr. Fripp starts playing as early as he can or wants to, and stops whenever he wants. Plan accordingly. 2) We (on this list) probably all know that Mr. Fripp dislikes flash photography during any part of his performance. Others obviously do not know this and proceed to mar the evening for both audience and performer. Saturday night was the second performance I attended this month (the other being a projeckt one date) to be altered by a photog's flash. Although some audients have reported seeing "no photography" notices, I haven't seen them (although I wasn't looking -- I have always operated under the assumption that flash photography during a performance is not allowed, or at the very least rude). I suggest that, in the future, Mr. Fripp and company make this preference more clear, perhaps in the form of printed notices on performance tickets and a pre-performance announcement. Terry Dorsey ================== The opinions expressed in this message are my own personal views and do not reflect the official views of Microsoft Corporation. ------------------------------ From: Jason_Peterson%READERSDIGEST at readersdigest dot com Date: Mon, 15 Dec 1997 13:03:30 -0500 Subject: Gig review: Late show: Fripp at Bottom Line Hi all, Bob's performance at the Bottom Line was wonderful - what I could hear of it. The audience (or many of them, were the typical Rock 'n' Roll asshole type. What really disturbed me was the guy behind me who at full voice throughout the show bragged about how much of a Fripp and Crimson fan he was and went on to describe all the Crimson shows he had SEEN and about all the prog albums he owned ("hey man, how 'bout that Hamill vocal on Exposure? That kicks ass, man!). All through the show I wanted to turn around and shout at this obnoxious shithead "fan" and ask him if he had heard ANY of the music at all during these amazing shows he had attended or if he was just there to be seen - and HEARD. I've had this experience with "progressive" fans before. Their "knowledge" of the history of this or that "prog" band obscures the actual hearing of the music. Why pay $20 for a show if all you are going to do during the performance is spew your ignorance of the MUSIC and your knowledge of their history and their history as a "fan"? I can, to some degree, understand an audience member(s) that was taken by surprise by a performance that was unlike anything they've experience as a "concert" before and their confusion created by something they are unaccustomed with, but it is totally inexcusable for someone who obviously "likes" a certain type of music to obscure the actual performance by spouting and boasting his history of the band for half of the audience to hear. I was sitting next to my girlfriend during the show and once in a while we whispered back and forth during the show and could hear each other perfectly. Why does someone have to babble constantly a FULL voice? Maybe they think it's the only way to tell the entire audience how knowledgeable he is about the artist. But the way it come off is that he is a complete ignorant jerk. Jason Peterson Harlequin Sound & Design jason dot peterson at readersdigest dot com ------------------------------ Date: Mon, 15 Dec 97 14:59:40 -0500 From: "Marc I Roemer" Subject: Gig review: space music shows I was at the Birchmere show and both shows at the Bottom Line. I tried to take each show as a whole event. But at the Bottom Line, it seemed to unfold dividedly, one event on the stage separate from events in the audience. I don't know why this was so, though it would be easy to blame the discomfort of the chairs, lack of physical space, or the meatheads who hooted, hollered, and took a picture. Anyway, during the second show, I was listening intently, and I realized the music had reached a point of not knowing where to go. After a brief change of timbre, Fripp stepped up to the mic, and told us to "lighten up"! Perhaps it was the audience, listening in complete, reverent silence that was holding the music back. Watching him, I thought Fripp would have preferred to sit in a corner and play rather than up on the stage, letting the music be just one other aspect of the environment mingling with the other events of the evening. Actually my favorite part of the whole night was between shows, when there were more wait staff in the room than ticketholders. The lights were up, and the music was giving hints, opening large doors to infinite numbers of possible meanings of "Who ordered coffee?" spoken in echt New Yorkese. This is the way the Birchmere show hit me, as a whole event. I actually watched audience response more than I watched the guitarist. It reminded me of a trip across the country I took when I was 12. We got up to see the sun rise over the Grand Canyon one morning. There were a lot of other people who had the same idea. So there was this big group of strangers there waiting, talking intermittently, having coffee, whatever. Then the sun came up. I don't remember anything about what the sunrise looked like, I just remember the quality of being there for that purpose. For me, the concert had that same quality. One exemplary "earnest young man" Marc ------------------------------ From: "Christopher A. Jepson" Subject: Gig review: Soundscapes, etc. Date: Mon, 15 Dec 1997 15:55:28 -0500 (EST) Dear ETers: I'll add my recollections of Mr Fripp's comments at the Painted Bride Soundscapes show on Dec. 12 to what will doubtless be plenty of others... He referred to ProjeKct 2's music as "Space Groove" and said it might cause you to "fall out of your seat laughing... or just possibly get up and dance your bippy off" ["bippy" (bip-e), n.: 1a. Obscure 60's term meaning "backside"; see also BOOTY]. He asked twice for questions from women, noting that all the comments seemed to be coming from "earnest young gentlemen." One woman asked him to recommend some reading about intention, discipline and craft (or something close to that). He thought awhile and responded saying that reading about these things is almost deleterious because they are intensely practical. Basically he recommended that the questioner find a teacher. He suggested a technique for finding a teacher that came from (I think) Sri Chinmoy -- write a list of names, look them over, and pay attention to what your heart tells you. He said also that sometimes teachers will appear in dreams. He mentioned that his sister observed after the Birchmere concert that after he spoke to the audience, they bought all his CDs, so he should do it more. He mentioned that "I do not play music for money... [pause] I take money that is available... [audience laughs] but that is not my motivation." He mentioned that his rabbit had appeared on some British TV show. (The "quotes" above are approximate -- my apologies for inaccuracies.) *************** While listening to the Soundscapes I got the idea that a planetarium would be a perfect place for such a concert... does anyone know if he has ever done such a thing? By the way, to those who have trouble spelling "ProjeKct": ^^ || King -------/ \-- crimson Lastly, I would like to apologize to Mr Fripp for a couple of crass comments I have made in this forum. I would prefer to do it privately since I would rather not re-focus attention on those comments, but I don't know how to go about doing that. -- Chris Jepson ------------------------------ End of Elephant-Talk Digest #446 ********************************