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 #492 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 492 Tuesday, 5 May 1998 Today's Topics: NEWS: Tony Levin photo exhibit GIG BIZ: O, come all ye faithful (Pittsburgh) Re: Heldon STEVE REICH Re: Thrak and Exposure Items for sale MID/CRD: Prince Rupert Awakes "Take A Train" june of 44/dirty three Re: Message From Elephant Talk Administration Sinfield & Dion (!?!) Bob Ludwig, the Meister-masterer. Listening Point of View Prokekct 2 show in Philly ends with a flash.. Neal and Tiny Lights and KC Re: Can't find Young Person's Guide Re: maybe I'm not a Crimson fan anymore P2...and in with the New!!! Am I a Crimson Fan / Tom Phillips Re: Steve Reich Again, Again & Why It Is a KC Issue My weekend. P2/Balt, Space Groove, YPG, Fripps equip League of CGs, Wetton, Bozzio\Levin\Stevens The Cult of Audience Expectation RE: Heldon Carefull w. That Ax video Tempi Quadnaural Earphones ProjeKct 1 Release? Reich, riffs and soundtracks Earthbound! GIG REVIEW: P2 - 9:30 Club, Washington, DC GIG REVIEW: Projekct 2 - Birmingham - England April 18/19 GIG REVIEW: Double dip, May Day +1 GIG REVIEW: Glory and Disaster with P2 in Philly GIG REVIEW: ProjeKct 2 in Philadelphia GIG REVIEW: Project II -Philadelphia GIG REVIEW: F.R.I.P.P. Exposed in Philadelphia GIG REVIEW: ProjecKt 2 - Washington DC, May 1st 1998 GIG REVIEW: PROJEkCT 2 Philly 5/4/98 ------------------ 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 system v3.5b (relph at sgi dot com). ------------------ A I V I R T S I N I M D A --------------------- From: Catnips Date: Fri, 1 May 1998 16:33:34 EDT Subject: NEWS: Tony Levin photo exhibit An exhibition of photographs by Tony Levin will be on view at Connecticut Photographics, 128 E. Liberty St. in Danbury, CT. from May 4th through June 26th. Gallery hours are Monday through Friday 8:30am-5pm and Saturdays 12noon-5pm. For further information, please access our website at www.ctphoto.com ------------------------------ Date: Fri, 1 May 1998 14:53:26 EDT From: ASchulberg Subject: GIG BIZ: O, come all ye faithful (Pittsburgh) Tix went on sale today, Friday, May 1st, for the P2 show on June 1st at the I.C. Light Tent at Station Square. Calling all fans; let's make ourselves known to each other and get together beforehand for dinner and drinks. Robert, Trey, Adrian, please feel free to join us. Arnie Schulberg ASchulberg at aol dot com ------------------------------ Date: Fri, 01 May 1998 14:47:58 -0400 From: Benjamin Slater Subject: Re: Heldon Heldon were a French progressive band from the 70s led by Richard Pinhas. They sounded alot like Fripp/Eno and very mellow KC (but with no vocals). They released several albums, some of which have been rereleased on CD by Cuneiform Records in the US, along with some of Richard Pinhas' solo work (he is still an active musician). Cuneiform's web site address is: http://members.aol.com/Cuneiform2/cuneiform.html You can also buy some of these CD's from Ponk Records. Their address is: http://www.ponk.com I bought the Allez Teia CD and have to admit that I only liked it back in my wilder (and chemically enhanced) days, whereas I find KC's music enjoyable in any state of mind. ------------------------------ Date: Fri, 01 May 1998 18:56:18 -0700 From: ROBERT SPEAK <"rspeak"@erols.com> Subject: STEVE REICH I was very interested in the Steven Reich thread that has been running. First, "Music for 18 Musicians" is recommended for any KC fan of the song Discipline. Also, I remember reading somewhere that Fripp meet Belew at a Reich concert. I believe Belew was with Bowie at the time. And in a Musician magazine interview, Gabriel said he had almost plagiarized Reich for the song "No self control". And while we are on the subject, how about the Yes song "Changes" or the chanting vocals on Robert Plant's song "Too Loud"? It seems Reich was an influence on a lot of music of that time. Some just picked up on it more than others. ------------------------------ Date: Fri, 01 May 1998 20:32:01 -0500 From: Emily Alexander Subject: Re: Thrak and Exposure Just reading the account of the similarities between Vrooom and Exposure, I wanted to know, is Fripp's Exposure at all like Exposure on Peter Gabriel's seconnd album? That reeks heavily of Fripp's guitar, as well as Levin's bass. Not having heard Fripp's tune, I assume the two must be at least somewhat similar given Fripp's involvement with Gabriel. regardless of what my e-mail says, it is actually jamdalea at marlboro dot edu.......I couldn't figure out how to change the Netscape Communicator mail preferences. ------------------------------ Date: Sat, 02 May 1998 20:34:15 -0500 From: Tom Richmond Subject: Items for sale Hello ETers: I have a few LPs for sale that may be of interest: McDonald and Giles - self-titled Bill Bruford - The Bruford Tapes Brian Eno - Another Green World Brian Eno - Before And After Science UK - self-titled UK - Danger Money I have a total of over 200 LPs and a few CDs for sale. Please e-mail me privately (I no longer subscribe to ET, I've been getting too much mail in general so I cut back on a few lists for now) I can be reached at trichmnd at execpc dot com Thanks! Tom ------------------------------ Date: Sun, 3 May 1998 13:40:05 +0400 From: "Volguine, Maxim" Subject: MID/CRD: Prince Rupert Awakes Prince Rupert Awakes /* verses go in A-moll, refrain in A-dur */ Am F Farewell the temple master's bells Am F His kiosk and his black worm seed Am F Courtship solely of his word E E7 With Eden guaranteed. <...> E A On which the Lizards feed. A Bm Wake your reason's hollow vote D A Wear your blizzard season coat <...> /* I can send you a rough MIDI version - please contact me directly */ -- Maxim Volgin multimedia programmer ParaGraph, Moscow, Russia e-mail: maxv at paragraph dot com ------------------------------ Date: Sun, 03 May 1998 13:32:29 -0700 From: Xou Oxno Subject: "Take A Train" Ian Wallace writez: > The name of the project is "The Wallace-Trainor Conspiracy", > and the title of the album is "Take A Train" (with apologies > to Lawrence Welk!). Yipes!!! It's a Duke Ellington/Billy Strayhorn tune! -- * D a v i d B e a r d s l e y * xouoxnoREMOVE-THIS at virtulink dot com * * J u x t a p o s i t i o n E z i n e * M E L A v i r t u a l d r e a m house monitor * * http://www.virtulink.com/immp/lookhere.htm ------------------------------ Date: Thu, 30 Apr 1998 09:57:25 -0700 From: James M Baker Subject: june of 44/dirty three A second endorsement for June of 44 (and related bands/projects like Shipping News, Rodan, Rex, and Rachels), and a recommendation, for all the '73 - '74 Crimheads, for Dirty Three, an Australian trio (drums, guitar, violin) on the Touch 'n' Go label. The '96 Dirty Three album, "Horse Stories," is good and raucous, while the brand new "Ocean Songs" is a little more relaxed. All of these bands have a good raw feel, like they're playing live (what a concept), with a mixture of structure and improv. And June of 44 rarely leave my disc changer these days; as a bonus, the first three albums have lovely plastic-free packages (available in vinyl and CD). Which, I have to admit, is why I picked up their first album anyways, and stayed for the ride. -- Jingoistically yours, James "Cash Grab" Baker > http://ruby.eciad.bc.ca/rant > http://www.eciad.bc.ca/~jbaker ------------------------------ Date: Mon, 4 May 1998 07:19:42 GMT From: schagela at freemail dot nl Subject: Re: Message From Elephant Talk Administration Hi all! In addition to what JesseMacDC wrote about the striking similarities between the middle drumless section of Red and the also drumless 'creamy' center of VroomVroom: I noticed that a similar fragment can be found in the drumless center part of Danger Mon by UK. Anyone heard this before? If not, check it out! Lex / Holland. ------------------------------ Date: Mon, 4 May 1998 11:03:37 GMT0BST From: FIN4PW at LUCS-MAC dot NOVELL dot LEEDS dot AC dot UK Subject: Sinfield & Dion (!?!) >From a British tabloid newspaper (bear with me): 'Celine Dion: She's the world's most successful singer and now - thanks to the Titanic single - the richest. But that's not enough, apparently. For as well as being paid for her shows AND getting a cut from airplays and sales, she's now after a share of the songwriter's earnings. It's struck a bum note with the tunesmiths. Brit writer Charlie Dore was outraged, while regular writer Diane Warren told her to bog off - as did PETE SINFIELD, co-writer of her big hit, Think Twice.' Could this be the same Pete Sinfield? Writing schmaltzy pap? Oh, please say it's not true...DOES ANYBODY KNOW? . p e t e . ------------------------------ Date: Mon, 4 May 1998 11:21:37 +0100 (BST) From: dinosaur Subject: Bob Ludwig, the Meister-masterer. [warning, slightly off-topic] [ "slightly"? -- Toby ] HI THERE. Something that I have been aware of for quite a while now (ever since I became seriously interested in music, and started reading the credits on album sleeves/cd booklets) is that some people tend to crop up on a lot of albums that are in my collection. ONE OF the gods of such matters is the ubiquitous Bob Ludwig, of Masterdisk New York, Gateway Mastering, and a couple of other places. He seems to have mastered something like 50% of the cds that I posess. I was just wondering if anyone else out there in muso land had noticed his many appearances. Recent examples of Mr. Ludwig's work are on albums like Suzanne Vega's 'Nine Objects of Desire', Sting's 'Ten Summoner's Tales' or the album I bought on Saturday, David Byrne's self titled 1994 album. THERE ARE others like Steve Lipson or Brian Eno, who seem to have produced many albums. Can anyone think of other production guys that crop up a lot? James. +----------------------------------------------+ JamesBeard @ www.geocities.com/Heartland/2511/ +----------------------------------------------+ ------------------------------ Date: Mon, 4 May 1998 06:34:25 EDT From: Miles Tee Subject: Listening Point of View Picked up ProjeKt Two double CD. If you enjoy Soundscapes with a drum beat you should like it. I have not listened to it enough yet my interests are peaked with the jazz influence through the guitar like disc two compilation ten. They are playing at the Park West Chicago on June 4, same venue as Soundscapes earlier this year so for what it's worth I pass my comments with some comparison to the Soundscapes performance. If you are going to the show, check out the Lincoln Park Zoo before hand plus there's a great salad bar at RJ Grunt's and a Ben & Jerry's a few doors down. It will be a good night. Lastly, would someone, or several of you if you will, via e-mail, give me any insight or review of Bruford/Levin's work now. Is this considered a Projekt as well? ------------------------------ Date: Mon, 04 May 1998 06:32:10 PDT From: "Matt D" Subject: Prokekct 2 show in Philly ends with a flash.. There is not much to say about this subject. We all missed hearing Fripp speak at the Phillidelphia Projekct 2 show just because someone really had to have a photo of Fripp standing at the mic. The bum didn't even let Fripp say a word. A flash and with no hesiation Fripp left the stage. I just wanted to thank that guy for ruining it for everyone else. I hope you are proud of your picture. Matt Deibert ------------------------------ Date: Mon, 04 May 1998 10:58:51 -0400 From: Larry York Subject: Neal and Tiny Lights and KC Anyone noticed that "Neal and Jack and Me" and Zappa's "City of Tiny Lights" (also sung by Belew) from the album "Sheik Yerbouti" are curiously similar? Just try switching the lyrics...they're even in the same key. ------------------------------ Date: Mon, 4 May 1998 12:14:25 EDT From: Camzone Subject: Re: Can't find Young Person's Guide Young Persons Guide was never released on CD and as I understand it, is a fairly hard album to get on vinyl. And just in case anyone is thinking of asking - Earthbound was never released on CD USA was never released on CD, and USA II doesn't (yet) exist The Young Persons Guide was never released on CD (as is obvious in the last post) Thank you ------------------------------ Date: Mon, 4 May 1998 12:26:35 EDT From: Camzone Subject: Re: maybe I'm not a Crimson fan anymore This certainly is an interesting thread. I'd have to say I enjoyed the PROJEkCT TWO Show and CD, but if this is to be Crimson from now onwards, I'd have to say I would no longer think of it as my favorite band. I, sadly, have never seen them live (The Double Trio, that is) and would like a show of King Crimson songs (yes, songs. Tunes, melodies, lyrics) and no improv before they (may) start doing this interesting sort of Jazzy sound. Let's hope that for the 30th anniversary they get together and just play songs for us (21st Century Schizoid Man for a start. Come on, they played it on one of their THRAK tour nights, they HAVE to play it on the 30th anniversary) and/or remake "In The Court Of The Crimson King" as I suggested. Crimson Forever! Camzone ------------------------------ Date: Mon, 04 May 1998 09:32:41 -0700 From: "Wise, Marshall A" Subject: P2...and in with the New!!! Toby and the Gang, I've been greatly puzzled by the mixed (or even negative) reception that the Projekct 2 Space Grooves CD has been given by this audience. My fear is that this may keep some people from purchasing it who might otherwise enjoy it. So, here is my entreaty... PLEASE, BUY THE "SPACE GROOVES" CD SO THAT PERHAPS FRIPP ET AL WILL BE PERSUADED TO KEEP DOING THIS!!! It is the most exciting Fripp-related CD since Discipline. I love it. I can't stop listening to it. In response to some negative comments in ET, it does NOT sound unstructured, it is not jazz noodling, it does not sound gimmicky. It DOES sound purposeful, compelling, even beautiful. You've got to check out Adrian's drumming. Now, I love Bruford, but Adrian seems to drive things slightly in front of the beat in a way that is infectiously propulsive to the band. (Maybe we should call him the Tony Williams of the V-drums?) And, when have I ever heard Fripp throw down be-bop licks like he does on a couple of tracks here? Trey plays beautifully as well. For those of you (I assume all reading this now ?) who have loved or respected some aspect of Fripp's work, I think you should give him the benefit of the doubt. There is a reason he chose to record and tour with the P2 unit. He must enjoy it and find value in it. Who among us has earned the right to dismiss his new music? No, not everything an artist does will ultimately be considered successful, but on average, I think we would benefit to keep an open mind to trust his instincts. We are extremely fortunate to have someone like Fripp who keeps looking for new directions after giving us 30 years of (often) great music. If you don't like it, consider the alternatives... ELP reunion tour, another Asia line-up, GTR, Sussudio, etc (please don't flame me, I won't argue with anybody). Give me P2 anyday. Marshall Wise USA P.S. I also hope there is a P3 with Mastelloto. His drumming on Sylvian/Fripp "Damage" is masterful, also very different in style than Bruford (I didn't say better, so bite your tongues!). ------------------------------ Date: Mon, 04 May 1998 18:48:28 +0100 From: Sid Smith Subject: Am I a Crimson Fan / Tom Phillips A couple of thoughts on the maybe I'm not a Crimson fan anymore thread. Firstly, it does seem unlikely given the amount of available material released over the years, that everyone will like everything in equal measure. In terms of getting into things, I have to confess that it took me about five years before I got round to liking Discipline. I've still to find the musical nirvana that some describe as being contained on Three Of A Perfect Pair. If you'd have asked me about 1999 by RF a couple of years ago I would have told you in no uncertain terms that it was a triumph of style over content and quite possibly the worst Fripp piece I'd ever heard. If you ask me now I'd have to say that I rate it as one of his best. Times change and people change, thankfully. I guess these things come in and out of focus at various points in your life. If you're willing to engage with the music it can click into place, though not necessarily at the first time of listening. Secondly, the whole point about the ProjeKcts for me is that we can hear the drafting process as it happens. Some of it might get to the greater Crim and some of it might not. Who cares ? The journey is so interesting and stimulating that the final destination isn't uppermost in my mind at the moment. In respect of P2 live or otherwise, I was lucky enough to see all of the recent shows in the UK. The music didn't grab me in the same visceral way that ProjeKct One did. However, it did start getting under my skin and I count the music on the last night as some of the best I've heard. Subsequently, I can honestly say that Space Grooves (both discs) has not been out of the player since getting back to Newcastle. Finally on the Tom Philips front I would recommend his Work and Texts. Published by Thames & Hudson in 1992 it cost around #35. Library Of Congress Card No.92-80331 ------------------------------ Date: Mon, 4 May 1998 15:37:36 EDT From: FRANKYORK Subject: Re: Steve Reich Again, Again & Why It Is a KC Issue In ET 491, Paul Wagoner wrote: > I have to second John O'Connor's raves about Steve Reich's > 'Music for 18 Musicians'. It's long been one of my half > dozen favorite albums, and I almost killed myself trying > to find it on CD (ECM released it originally but it had > been deleted for quite a while), finally finding a used > copy and buying it about 3 days before Nonesuch's > re-release. Does anyone happen to know if the re-release > has drastically improved sound quality or anything? Actually, the recent Nonesuch issue is a band-new recording of "Music for 18 Musicians" featuring the current members of Steve Reich and Musicians. This new recording first surfaced on Nonesuch's 10 CD-Steve Reich Box issued in 1997. It is only now available separately. The Nonesuch recording is not a re-release of the original ECM recording. Both performances are top notch and, to my ear, both offer similar sound quality although my analog LP-loving ears prefer the original ECM LP. Note, the Nonesuch recording is slightly longer than the ECM. As the number of repeats in the score is left up to the performers, the length of the performance will always vary. ECM did indeed issue the original recording on CD. To the best of my knowledge, it is still in print. Deleting it would be foolish, since It is one of the all time best- selling recordings of new classical music (but you never know with the all- wise record industry). I just finished the liner notes for yet a third recording of "Music for 18 Musicians" which will be issued by BMG in either August or September 1998. The new recording features a performance by Germany's Ensemble Modern. It will be fascinating to hear what other musicians do with a work which thus far has only been performed by ensembles led by the composer. Perhaps this bodes well for "18" eventually entering the standard repertoire. . . What does all this have to do with Robert Fripp and King Crimson you may be wondering at this point. Actually, quite a lot. Aside from the aforementioned Reich influences many audients have heard in 80s KC, Eric Tamm's book on Fripp makes reference to a specific Reich vs. Fripp polemic. To paraphrase. . . Years ago, Reich said that the only thing he admired about rock musicians was their salaries. Fripp commented that the fully-notated music of Reich left no room for chance and that ideally someone would jump on stage during a Reich performance and improvise over it. Reich has since softened his position and Fripp later went on to create fully worked-out, if not notated, Reich-influenced Crafty Guitar compositions. Perhaps, with three recordings of "18" finished, Fripp's vision of someone adding an element of chance to this music may one day happen. ProjeKct 18, perhaps? Frank J. Oteri New York ------------------------------ Date: Mon, 4 May 1998 17:04:04 -0400 From: Brad Davison Subject: My weekend. My fellow ETers, I just saw PROJEkT 2 on Friday at the 9:30 Club in DC and I have only one word and that is TRANSFORMING. I loved it! I'd never seen the Warr guitar that closely and that was impressive. I very nearly didn't attend and, as it turned out, I walked in just as they left the stage for their intermission. My conflict arose from wanting to see the Capitals/Bruins game 5 of their playoff series. I was torn and probably foolish, but I bit the bullet and spent the money to attend both events. Caps started at 7:30; the first set started at 10:00. I gambled that I could get to both. I knew I was one the right track when the trivia question at the hockey game refered to "what band was made from members of..." and the answer was Asia. I was the only one around me who knew. Caps lost. The second set was awesome. I want a Warr now. Brad. ------------------------------ Date: Mon, 04 May 1998 18:07:43 -0400 From: David Steimling Subject: P2/Balt, Space Groove, YPG, Fripps equip Hey All! (Dave bows to Toby) Wow! My first taste of P2 in Baltimore. Having not previously heard any of the music, I was quite blown away. And I think I like the Space Groove discs even more, musically, than the show. Since tj, regular contributor, (who was there, whom I met at BLUE in Baltimore, as well as a few others, that showed for P2 show [feel like a groupie?]) is sure to write a concise review, Ill just suffice it say that Fripp can spray guitar like nobody's business. Adrian really surprised me on the v-drums. I had no idea he was so adept as a drummer. And Trey. Woah. Trey always impresses me greatly. I didnt think he was as impressive as in The Trey Gunn band show at Orion, but quite impressive all the same. And the lounge version of VROOOM...KEWL!!!! This was my first time being able to check out RF's equipment up close and while he played (as I was up against the stage and could well have shined his shoes [which I probably wouldve had he have asked]). Its almost to much to believe that he can keep track of all that stuff & what it does. Also, I overheard someone in the John saying they were talking to the ?manager? who informed them that P3 will be Mastellotto (I again apologize for the more than probable spelling error, Pat) added to this line up, even though they werent sure if that meant Adrian on guitar or drums. Ill take that with a grain of salt for now, as I didnt hear it come from anyone's mouth that was directly involved, but thought Id pass it on anyway. I havent heard or seen the P2 disc until after the show. (Which surprised me that Fripp & Co were referred to as scientists. I think some clever guy mentioned that Fripp may better be referred to as a scientist in an earlier ET ;-) ) I must say, I am impressed. I know alot of people are disappointed with it. I personally think it is, musically, better than the live show I saw (In Baltimore @ Bohager's). I loved standing at Fripp's feet & listening, watching, wondering, trying to make sense of all the sounds, where they came from and how. But the disc is, get this, more structured, overall. Ive listened to it at least 5 times in the last 3 days and cannot get enough. And for CURUGROTH I think if thats how you hear the music, how could it be wrong? I wish I could sit and listen intently enough to imagine a scenario that complete for a piece of music. I mean, I think we all feel sensations and emotions, but how many of us try to really explain them and get ahold of exactly what that emotion is? I personally wish I knew what Classical pieces have the bravado and intensity that I gain from KC's. I dont have the $ to buy a bunch until I start getting on the right trail. I like pieces such as Boree by Bach and Bolero by Ravel. Most of my classical is Classical Guitar. Mostly because I know I can stomach it. Maybe CURUGROTH will send me a personal email to help me on my classical quest. Thanx in advance. ;-) For Darren Gozumian and others, Young Persons Guide to Discipline can be found at http://www.discipline.co.uk/tracks/9605tra.htm on Discipline Global Mobile's page. And lets not forget apiffer at mail dot bulkley dot net. Much of Fripp's equipment info can be found at http://www.discipline.co.uk/soundsc/soundsc.htm double click the little delay control unit at the bottom and the seperate albums for lots of info. Boy, am I full!! Enough bandwidth consumption for me! Dave ------------------------------ Date: Mon, 04 May 1998 18:51:06 +0200 From: Marco Bisello Subject: League of CGs, Wetton, Bozzio\Levin\Stevens I've got a difficult request: does anybody know who play in the singular tracks of League of Crafty Guitarists and RFSQ (ex: In "hope" from the string quintet: Gunn: solo, Fripp: ostinato, CGT: circulation, Richards: Fuzz solo. That's what I suppose, is it true? "chromatic fantasy": CGT & Fripp? "passacaglia": CGT & Gunn?). I don't pretend every piece, but if some one have a video may give me some answers. Can you give me a review about "The Gates of Paradise" ? I've got "Pie Jesu" single (Pie Jesu, Abandonment..., Sometimes God Hides) and I love its particular approach to soundscapes. The sound of Pie Jesu, the solo in Sometimes... Is all the album so unconvencional? Is there any other solo? And what about Wetton's "Archangel"? I love Wetton's work with Crimson but I consider his 80s album terrible pop music. What about his last work? I've not read anything about Bozzio\Levin\Stevens. So you may be interested in a review. If you want to buy it for Levin...no way. He's only a guest. Bozzio is tecnically incredible, but only this. He is in costant solo. A little exaggerated. Stevens is a good pop-rock guitarist. Nothing more, nothing less. If you've reached the adult age, this work is not for you. ------------------------------ Date: Mon, 04 May 1998 19:34:36 -0400 From: Paul Subject: The Cult of Audience Expectation A recent thread on the usenet (in Rec.Music.Progressive) erupted over the expectations of a concert goer vis a vis ticket prices and show length of a ProjeKct Two performance in Philadelphia. His juvenile attempts at insult aside, there was a point to his remarks. Just not the one he had in mind. RF has written extensively on the social contract that is entered into by performer and audience. The performer performs and the listener listens. However, pop and rock audiences seem to be infected by a disorder which I call audience-participation syndrome or APS. Symptoms include such things as inattentivness, the making of odd noises (most often in a loud voice), the screaming of the name of an artist (usually while they're playing, often during a quiet moment), a quick temper when told not to behave in the above way, and often the desire to imbibe in a short time more than they would normally in one month. Others attend a concert with unreasonable expectations clouding their enjoyment. The show must be more than a certain pre-determined length, the artist must play a certain combination of songs, or the artist must attempt to sound the way they did during the Pleistocene Era. Combine these two types of "music lovers" and you have the recipe for an unpleasant evening for both the artist and the genuinely earnest audience member. I attend a concert to hear music played live and to enjoy a performance which will not happen in exactly that way ever again. That's it. Other than applauding after a song or yelling "bravo" at the end of the concert, I say nothing. Also, I leave it up to the artist to choose their own set list; they're more familiar with it than I am. As to ticket price: what exactly is art worth? What is this capitalism-gone-mad desire to quantify everything? Is a ProjeKct Two show worth the price of the ticket? That's something that only an individual attending the show can answer. It is a subjective matter. What is art worth? I would rather own a crayon on paper drawing done by my nephew than a Picasso. Not because the Picasso has no worth, but because the other is truly priceless. I would rather hear five minutes of inspired music, music that comes from the heart, than three hours of drivel. ------------------------------ Date: Mon, 4 May 1998 20:38:45 -0400 From: Jim Bailey Subject: RE: Heldon From: DonLaw >I recently rediscovered in my record collection a disc by >group call Heldon. This disc from the 70s is titled "Heldon >2 Allez-Teia". The first cut on side one is entitled "In The >Wake of King Fripp" the third cut on that side is dedicated >to Fripp & Eno. Well now ain't that peculiar? I've been meaning to post a question about that one myself, and that track in particular. I haven't heard it since the mid- to late-seventies, and thought it was by Heldon, but couldn't be sure. I also thought it was called "In the Garden of..." but will stand corrected. Now that I'm seated again, I'll also say that although I liked the music, that has to be the most pretentious title ever! It probably put me off buying the record (not that it was easy to find anyway). BTW, any Buffalo folks out there remember WBUF and WPHD from those days? They had some great late night shows playing lost of imports. It was always a joy to pull them in up here on the North side of Lake Ontario. Pity they went the way of so many others. A rare post from: Jim Bailey ------------------------------ Date: Tue, 5 May 1998 02:26:43 EDT From: PhasedIn Subject: Carefull w. That Ax video Does anyone have any idea what this video (available thru the Discipline website) consists of? There is no description of it's contents which leaves one to believe that it is either a documentary on Fripp or a solo perfromance of Frippertronics (something i'm very much interested in). I'm not that interested in Crimson but am very much anticipating a video of Fripp's soundscapes.... Thanks very much for the nice site... ------------------------------ Date: Mon, 04 May 1998 18:57:07 -0700 From: odsplut at ix dot netcom dot com Subject: Tempi Quadnaural Earphones A hit here http://www.wendycarlos.com//catz.html and a scroll down "Whimsy" way may amuse or at least enlighten things up a bit... Git yer spacegroove on! ------------------------------ Date: Tue, 5 May 1998 05:24:10 -0500 From: "J" Subject: ProjeKct 1 Release? Having recently purchased and loved ProjeKct 2's "Space Grooves"... and, having read hints and allegations that there might be a ProjeKct 1 release in the pipeline...i was just wondering if there is any concrete info regarding an upcoming ProjeKct 1 CD? Mr. Fripp and Co. can count on this reader's purchase of any potential P1 CD! J. ------------------------------ Date: Tue, 05 May 1998 16:42:51 +0100 From: "David McAllister" Subject: Reich, riffs and soundtracks Ashley wrote: > a few years ago i viewed a film entitled "zabrinski point" > an excellent film with a brilliant and unusual > soundtrack..... I am wondering if anyone has seen this film, > and whether they know if KC music was used in it... I haven't seen the film (though I'd love to, just for curiousity's sake). However, I noticed that the soundtrack has recently been reissued and is distributed through Blackmail (in the UK anyway). I don't have the catalogue in front of me, but I'm certain that there is no King Crimson content. As well as Pink Floyd, there's a version of Dark Star by the Grateful Dead. The reissue also features a second disc with unreleased music written for the film and performed by Jerry Garcia and Pink Floyd (not together, unfortunately). If you want details, let me know - I'll go home and check. Can I second John O'Connor when he plugged Music for Eighteen Musicians? I heard this Steve Reich piece performed in London a few months ago by the Ensemble Modern and it was breathtaking. This is probably one of the most structured minimalist / gamelan type pieces I have heard (which isn't saying much); it has a shimmering beauty. I think its been mentioned before that Steve Reich is almost certainly an influence on 80's KC. John also mentioned the Kronos quartet. I'm not too familiar with that group, but I know that they'll be performing the piece which brought them to fame, Reich's Different Trains, in London at the end of the month. Should be worth a listen, if you enjoy the minimalist music. I'll maybe check out the Early Music concert as well. Finally, the two VROOMs and Red seem particularly similar to me in places, especially when the Red version by the double trio. Oh yeah, I owe a belated thanks to Brian Thompson for organising the ET get together at the Jazz Cafe P2 gig: cheers - hope we do it again, sometime. Enuf waffle. Take care, Dave ------------------------------ Date: Tue, 5 May 1998 13:18:52 EDT From: Pierron3 Subject: Earthbound! I'd just like to thank everyone who responded to my last post,I had several people offer to tape Earthbound for me...what a great list this is! Mike- Appleton ETers ------------------------------ Date: Sat, 2 May 1998 01:37:18 +0000 From: jonathan at wizard dot net Subject: GIG REVIEW: P2 - 9:30 Club, Washington, DC Fellow ET persons, I just experienced the delightful P2 show at the 9:30 Club. These are my random impressions... Playful, beautiful, dancable music. Lots of interplay between the players and lots of effort on Adrian's part to make everyone smile. He was successful :) Lots of tension and release both in musical form and in Adrian teasing everyone with the v-drums before getting down to business. Not nearly enough dancing. IMHO, with respect to the P2 shows, the answer to the question: What are the responsibilities and obligations of the audience / enthusiast / fan? is: In the event that the musician plays dance music, the audient / enthusiast / fan ought to seriously consider dancing. Other impressions... In the second set, after Adrian played with his drums a for a minute or two between songs (there seemed to be a problem), they launched in to a piece that rocked pretty intensely (harder than anything on Space Groove) - I hope a version of it appears on the next P2 CD. Finally, I told my girlfriend that someone in ET had suggested, not very seriously, that Trey was along to give the women someone attractive to look at. She countered that Robert is cuter. I think she has a point. Cheers, Jonathan Krall (jonathan at wizard dot net) ------------------------------ Date: Sun, 3 May 1998 14:47:56 +0100 From: Neil Talbott Subject: GIG REVIEW: Projekct 2 - Birmingham - England April 18/19 Been meaning to write about this for 2 weeks now, but as no-one else has covered this particular show (to my knowledge) I hope ET will allow me to expand on the subject. Because my impressions of the above event were so kaleidoscopic I thought it best to present my account as a series of vignettes or notes. 1. It was fantastic to have Fribble and co virtually playing on my doorstep (well, about 20 minutes away by car) for a whole weekend (and what a weekend). Firstly, when I arrived at Ronnie Scott's Jazz club on the first night I got to hear that some saxophone player from the States had been invited to play there but he was too busy with the day job. The guy was (The one and only) Bill Clinton, and I don't have any of his CDs, not even of congressional speeches! 2. On both nights at Ronnie Scotts Projekct 2 played two sessions with a total of 100 mins music per night. On the first night their second session began after midnight, finishing after 1 AM. 3. On the first night my friends and I sat at a table right up against the stage just below Trey Gunn. Trey wore a very nice quilted black and crimson shirt and sported short hair like an English schoolboy; the girls thought he was lovely. His message was 'boiled not baked'- perhaps he's tired of bagels. 4. On the second night I sat up against the stage almost within touching distance of Fripp's effects pedals, so had an excellent view of his guitar style and body language. 5. One couldn't help but like Adrian Belew for the zeal and zest he put into his V.Drumming. My first impression was that his drumming was a little too relentless and not loose and quirky, a universe away from Bill Bruford's style of drumming. However, after 2 nights I got used to Adrian's style because a) he attacked the drums with such enthusiasm, and b) it gave a rock solid foundation for the far-out improvs of Fripp and Gunn. 6. Because of the rapport between the players, I initially thought of Projekct 2 as a bit of a lad's night out; they were having so much fun. But then it dawned on me that P2 was somewhat more than just fun, and a long way different to our preconceptions about King Crimson. There was a lack of pompousness about the music, no doomy portentiousness or pretension. The music just flowed and flew its mercurial path through our ears. 7. The music itself - it was like SPACE GROOVE in textures but totally unlike SPACE GROOVE in content. I wrote down... Drum&Bass Thrakking, atonal free form jazz that drove one on to thresholds of pain, Condensed Snapshots of Soundscapes from November Suite and Salisbury Cathedral, Slow mysterious emerging sounds like the early Floyd of A SAUCERFUL OF SECRETS, Bells, strings, rippling pianos like Rachmaninov on Ecstasy. And there were 2 pieces that particularly impressed, one of which I feel sure Fripp and Gunn were exploring with Projekct 1 at the Jazz Cafe. 8. The first piece is like a battle between rival sorcerers (remember Roger Corman's THE RAVEN?) where hocketing chords are exchanged between Fripp and Gunn like fireballs. Then they cross swords with a slow scale, Fripp descending in thirds while Gunn rises up to meet him in equal measure. This battle goes on for some time and the cumulative effect is tremendous. This piece - I hope - is destined to be released on CD. 9. The second piece begins with a weird alien soundscape evocative of a devastated planet, over which Trey interjects with strange robotic voices (already mentioned by other contributors to ET), and the music moves effortlessly to a slow cortege beat - Fripp plays gorgeous purple harmonies over which Trey plays an achingly beautiful solo. This piece made my scalp tingle and brought tears to my eyes too, and I hope beyond hope that DGM will release a recording of this unforgettable masterpiece. Perhaps night falls on Altair-4 for a thousand years. 10. Both shows more or less ended with a delightful cocktail lounge version of VROOM, which was really cute. 11. Go see ProjekCt 2 if you can. Don't miss ProjeKct 3 either when they start touring later this year (I do hope Captain Fribble and his crew stop off again at Ronnie Scott's Birmingham). Get the SPACE GROOVE CD, and as my friend Sid Smith says, You'll need to buy the T-shirt too because the music is so CHILLING!!! Quote : Robert Fripp 1998 - "Who would have thought that anything connected with KIng Crimson could be this mych fun?" -- Neil Talbott ------------------------------ Date: Sun, 03 May 1998 11:13:16 -0400 From: "dumela" Subject: GIG REVIEW: Double dip, May Day +1 A deep breath for P2: May 1st 9:30 club and May 2nd Bohagers. Let me start with the bottom line. Those among us, myself excluded, who have expressed dismay at the recent lack of hearing Robert light his strings on fire have no reason to linger on. Fripp positively roared. (Trey has noted this in his most recent road notes.) His playing at times was deliciously frightening. We asked and he has delivered. This is the foothold of a Crim in 1998 and beyond. Total satisfaction is my feeling from these two shows. At the May 1st show the second piece in the first set and the last in the second set were inspiring. Both of these were also played but at different times and with some variation on May 2nd. These two pieces were just bone crushing with all three going completely off. It was a terror. I felt altered with sounds like this. Words fail me. Robert's entire body was bouncing with the fierceness of his enlightened notes. Trey proved fully up to the task and turned Robert's head more than a few times. The May 2nd show was hotter than May 1. According to what I could glean the Baltimore hotel arrangements were _much_ better and to some degree this can make a difference. And then the venues: the 9:30 club is a nice space but somewhat square and clean. Bohagers has some soul. The manager, who escorted me and a friend through during the sound check, teased us with, "You'll never guess who's sitting in the back . . . Brian Eno." As my tongue hit the floor he said he was just kidding. But yah a nicer "space." On the news front: P3 will be P2 plus Pat and will start coming together about mid- year. It has yet to be determined if Adrian will be hitting pads, plucking strings, screaming or all three. Pat has some dance beats worked out for this next endeavor. Initial gatherings will begin at Adrian's. Query: Can anyone tells us of the results of the DGM conference in Japan? and Can anyone do a gig review of the P2/BLUE shows in Japan? a fully satiated, tj dc-et www starved for an update: http://www.tidalwave.net/~dumela/index~1.htm ------------------------------ Date: Mon, 4 May 1998 09:54:48 EDT From: Jazzin12 Subject: GIG REVIEW: Glory and Disaster with P2 in Philly With great expectation, I attended the P2 performance on May 3rd at the Bellevue Hotel's swanky ballroom. Having read Belew's web journal exposing his pleasure with Roland's new VDrums and having found the Space Grooves CD in shop earlier in the day, possibilities of an epic experimental experience were aboundly probable. A friend, unfamilar with the Bellevue's new program to host shows in their ballroom, purchased tickets by phone. Upon arrival, an usher peered at our address for the having and responded fondly with giddy, "OOOhhh", this way. Much to my surprize and delight, we were led from the back of the room, past the soundboard, up to the first row. Although seated in front of the PA speakers, the view of the stage was wonderful. Clear view to watch, not only Fripp, Belew and Gunn's manipulation of their gear, but their expressions and interaction. The tower of loud speakers was duanting and considering the amount of electronic processors used, I was bracing to hear a lot of piercing switching and audio residual from the equipment. Much to my surprise, it sounded very natural and clean - although tremendously loud. Now for what most of you are interested to learn - the show. The show began with Messrs. Fripp and Gunn ripping into a piece ala thrak attack and sounscape-ish. They quickly set a precedent for an evening of space exploration, dissonance and a peak into the future of Crimso. When Belew appeared on stage, the crowd reacted joyously. Belew's infectious and genuine charisma was the charm of the evening. Quickly, the stage was set with Fripp on the right (stage left) forward, Belew with his VDrums center stage and Gunn on the left (stage right). Belew approached the set of drums with a gleam in his eye and a small grin, much like that of a child at Christmas discovering Santa delivered what was most desired. As soon as he began to play, the VDrums won everyones approval. Although Belew was very competent at the controls, I could not avoid thinking what Bruford could do with this new toy. As Belew tweaked and paddled his new toy, he could almost not contain his excitement and would burst into a smile - as wide as one can smile - everytime he conjured up a great patch or played a sequence that worked well. His happiness and joy infected me and brought me to laugh and smile much of the show. With a flick of a switch, the entire VDrum setup would complete change its settings. They appeared to be extremely touch sensitive and as many of you have heard, he programmed bass line to what is traditionally refered to as the bass drum pedal. Add this to Fripp's ala Frippertronics / Fripp in the box / Soundscapes setup (I realize Frippertronics and Fripp in the box are old setups, but...) and Gunn's Warr guitar set up complete with a light sensitive unit that allows Trey to change the dynamics and level simply by moving back and forth from a unit that sits on the foor in front of him and you have an incredible peak at what music will become in the new millenium. It was worth the price of admission just to see Adrian happily manuver on the drums. But what made the evening special was hearing Fripp rip solos like he has done on many of his classic projects. That powerful and viscious sound that I so love. That was beautiful! To describe the musically content of the show is beyong my simply grasp of writing, suffice to say that the CD "Space Grooves' does have some the of basic principles applied in the live setting. As the evening approached the moment when the group waves and bows and thanks everyone for coming, tragedy struck. It slowly developed with the Fripp, Gunn and Belew standing at the front of the stage taking a bow. Several members of the audience approached the stage and shook Mr. Belew's hand. At this point, someone attempted to shake Mr. Fripps hand. Most of his are aware of Mr. Fripps' manner and we are aware that he does not shake hands. He politely laid his right hand up against his chest and gave the individual a small nod. The fan did not seem to appreciate this to much. However, Fripp's actions where quite respectful and gracious. Anyway, I will get to the unfortunate pass of the evening. The group left the stage and the audience continued to give a standing ovation. It was evident that there was more to come as the house lights did come on. After several minutes of applause, Fripp appeared at the center of the stage at a microphone. Just as he was about to address us, I mean his mouth beagn to form the first word, some idiot took a photograph - flash and all. Fripp frowned and quickly dashed from the stage. And the house lights came up and we were sent home. I can hardly contain my anger that some fool ignored the simply request not to record or photograph the event. I approached the stage and asked one of the equipment technicians if they would have played more and I was instructed that not only would they have played quite a bit more but Fripp was about to give us a speech describing the aim of the ProjeKcts, what is in store for the future and would have probably taken a few questions. It is unfortunate that lynching is not fashionable, as I would have whole-heartily participated in stringing up the fool who snapped the shot that killed the evening. What would have been so great about a photo of Fripp standing at a microphone. He looks the same as he has the last several years and dresses in his usual black suit. This very disappointing and frustrating. It is a simply request of the performer - why can't we give him the respect we should give any stranger? All in all it was a bitter sweet engagement. Adrian's joy to be on the drums, the evening's moments of fascinating and inspirational improvisation and then the journey into space tragically grounded by the actions of one person. Scotty, beam him outta here for the good of the universe. Keep the faith, Jay ------------------------------ Date: 04 May 98 10:10:00 -0400 From: christopher dot anderson at gsa dot gov Subject: GIG REVIEW: ProjeKct 2 in Philadelphia ProjeKct 2 played at an interesting venue last night, 3 May 98: the Grand Ballroom at the Bellevue in Philadelphia. Quite a difference from the sticky-floored grunge of the Tower Theater where Crimson last played. It was certainly nice to sit close enough to really see the stage, although the speakers on the left were a tad too close and loud. I was very impressed by Trey Gunn's playing; he was doing much more than he seemed to on the last King Crimson tour. He often soloed in a style very much like Fripp, with long sustained notes and that nice distortion that Fripp uses. That may have misled me into thinking, on previous occasions (and recordings), that it was Fripp, when it was in fact Gunn, playing certain passages. (A friend who is a Pat Metheny fan often said that I needed to see the Metheny Group in person to be sure whether it was Metheny or Lyle Mays playing; this is even more true with ProjeKct 2.) Fripp was quite good, as well, although not stepping out in front as much as one might expect with a three-piece band. He used an interesting range of tones, or sounds: at several points the notes he played sounded more as if made by a piano (one of those synthesized 'acoustic' jobs) than by a plucked guitar string. Fripp also used a technique (perhaps borrowed from Gunn and the Warr guitar) of using the fingers of his right hand to fret notes along with the left hand. Usually it was just along the bass strings, but he also did this on the higher strings on occasion. Belew got amazing sounds from his synthesized drum kit, sometimes actual notes, as opposed to percussive effects. He's not a technically impressive drummer, however, and several pieces had the same rhythm. (I wasn't familiar with the new record, which I bought at the show. From one listen, I would say there is more variety on the album than there was at the show.) I shouldn't give the impression that he wasn't good, however, because he did keep things moving, and interact with the other two. (Save us from drum machines.) I have to say something about the audience. Even though the crowd seemed mature in age, the behavior was adolescent to a disturbing degree. This was a fairly small place, and people were hooting, and calling out the band members's names as if they were at a huge rock auditorium twenty years ago - as if they were in high school going to see the Dead, or the Allmans, or the Blue Oyster Cult. I was glad that people seemed enthusiastic about the new material, but I ended up wondering if they were really listening, or just caught up in the excitement of seeing their King Crimson heroes. At the end of the show there was a standing ovation, and Fripp came out to a microphone. Before he could say anything, someone shot off a camera flash, despite an early announcement not to do so, and Fripp turned and left without a word. On the way out, I actually heard someone say to his friends "Respect your audience, Robert." Excuse me? It must be totally exasperating to Fripp that he tries to explore new music, and actually play in concert (as opposed to running through note-perfect renditions of studio material) and his supposedly devoted following is stuck in some fantasy of what he should be. It seems that rock musicians cannot have careers; the audience will demand that they will be members of the same bands forever and play the same sort of material they began with. I can understand Fripp's reluctance to tour with a group called King Crimson; not only would it require a lot of material support and investment, a lot of emotional baggage on the part of the audience would be carried as well. Christopher Anderson ------------------------------ Date: Mon, 4 May 1998 11:22:59 -0400 (EDT) From: laskin at dca dot net (Robert Laskin) Subject: GIG REVIEW: Project II -Philadelphia Caught Project II last night in Philly town. Sure its new, sure its exploritory, sure your eyes played tricks on you with Belew on V-Drums. When you closed your eyes, the complexity was a warm energy. It will fuel my curious mind for the next month. Where else can you see/hear new music? I see Project II being the foundation piece for the next level as Red was for Discipline. All good things in time. Thank you RF for remembering us in Philly and pushing the walls one more time. Where else can you see music evolve? Peace, Bob ------------------------------ Date: Mon, 04 May 1998 15:34:00 -0400 From: Richard Burton at GMIS-PO Subject: GIG REVIEW: F.R.I.P.P. Exposed in Philadelphia F.lash R.esults I.n P.artial P.erformance The Phily P2 show lost any and all encores after Robert was blitzed milliseconds before opening his mouth. Whether or not there was an angry mob lynching is still under investigation. At least I was able to figure out the rest of the message in the 'projeKct' name: p.hotographic r.econnaissance o.stentatiously j.eopardizes e.ncore of K.ing c.rimson t.rio! Had a blast despite the unexpected ending. richard dot burton at hboc dot com ------------------------------ Date: Mon, 4 May 1998 23:34:03 +0000 From: ossi at icelandair dot is Subject: GIG REVIEW: ProjecKt 2 - Washington DC, May 1st 1998 Gig review - ProjecKt 2 - Washington DC, May 1st 1998 Projeckt 2 had a concert in the 9:30 Club Washington DC on friday May 1st 1998. This was my first time in the city of the Bill & Lewinsky affair and the first time I hear Fripp with friends in a concert. Previous KC encounters were mostly without music (Playback, London 1997). I was therefore excited. I arrived to the line around 8 clock at the same time that P2 came in their Dodge Van. The line contained only 5 people so I was afraid that we would get empty house. Besides that the 9:30 Club is in a somewhat shabby neighboroughood. In a car there was this lady half sleeping with the music full volume, In the court of the crimson king. She had been there two hours before playing the same CD. I guess her expectations were not met. At the end there must have been between 500 - 1000 people in attendance. The concert started punktlich around 22:00 and they played until 22:35. The second set started 23:00 and lasted until 23:35 plus an encore which contained Diet - funny - Vrooom. Thus we got about 70 minutes of music. I stood 2 meters away from Fripp who as usual was sitting to the right. The Fripp-smile factor was rather high this evening and he seemed to enjoy doing this so much. Often he would tell Adrian and Trey how much he liked their efforts. And the music, well what can I say. Those coming the see many Fripp solos get a lot for the money. Those wanting KC songs will of course get dissapointed. The guy standing beside me (hi, Mr. Delta Airlines !) was an admirer of Adrian's guitar playing. He must have been disappointed. Those used to listen to free form and improviastion (JAZZ !) must have liken it. I enjoyed it for most of the time. Some- times it was just a heap of noise but a other times they really did it and I got lost in musicland. The set was far to short, I really have to complain about that. Many people came a long way to see this and 70 minutes is a kind a (F)rip(p) - off. Anyway this was mostly strong stuff, sometimes airy and jazzy but at other times it got KC like intense. Now the question is, how will they exploit this for the larger Crim. I am not sure. Trey Gunn was the surprise, you all know why, we did not hear what he was doing in KC. He clearly is a student of Fripp because some sounds are so Frippy. He still has a lot to add and I get the feeling that his expression is broader than Fripp's. Adrian was having the time of his life (an audience shouts "King Crimson", Adrian answers "They are not here") on the V-Drums. In some songs I found his playing to lack variatons, this was escpecially so in the first set. He was able to trigger bass lines with a foot pedal which made the best songs, very groovy. Adrian improved in the second set although he had some trouble with his V-Drums controller. Fripp was in fine form. He trew a lot of trade mark solos and also had some new eggs in his basket. His guitar technique is a joy to watch. He must be one of the fastest player while keeping the tones clear. Around him were a lot of foot pedals but he only used about 30% of them. I bought the CD Space Grooves and I like it. It is more jazzier and not as intense as P2 was on May 1st. After 3 listenings I am sure that this one will continue to spin on my player more often than many recent purchases. The CD also demonstrates again that Fripp would make an excellent Jazz player. I think the last time he showed his ability there was in 1969 on the Giles, Giles & Fripp album. As an improvised album it is far stronger than ThrakAtTacK. CD - Recommended, 4 out of 5 Gig - Recommended, 3.5 out of 5. regards Orn Orrason ossi at icelandair dot is ------------------------------ Date: Tue, 5 May 1998 01:57:54 -0400 (EDT) From: Andrew Dietrick Miller Subject: GIG REVIEW: PROJEkCT 2 Philly 5/4/98 I await eagerly the many responses to this newsletter as to the actions of Mr. Fripp on the night in question. I am interested in seeing everybodies view points. Here is my own, the night in question, May 5th 1998--- PROJEkCT 2, Philadelphia PA, Ballroom at the Belevue. The night started off with a rush to the show, like any Fripp event, the group was very prompt, taking the stage no later than two minutes after the specfied time. The Trey Gunn haircut was in full effect, I saw an add for the band and I couldn't belive that was him. The whole show Trey played his Warr (eight stringed) guitar, no stick, that's all right by me he sure did a lot with what he was given. Trey and Robert opened the show with a little guitar swap. Fripp played some great soundscapes, throughout the night, that the others guys ate up with there sound. Adrian walked on stage to a nice roar, and the thrid piece started away. The cool thing about the drum is that although they where electronic they had some depth to them (most likly wooden) which -I would think- added nicely to the sound. I'm not going to pick through the set. Mostly improvs, some based on the (and very closly resembleing) album material. *Note* I asked the usher as I huried in "Is there going to be an intermission" his response "40 on , 20 off, 40 on". After 40 mintues there was intermission. I bought a t-shirt (15 buck...can't beat that) and Adrian's Acoustic cd Vol. 2. Check out "Free as a bird". Man this guy is like a Lennon clone, I would have loved to see those guys in the same room. Second set started with all three walking out on stage ENTER CONTROVERSIAL INFORMATION HERE **FLASH** Robert walks off stage, Adrian and Trey play for about 3 or 4 minutes looking at each other and kind of smirking and then Robert comes back. First question, was this improv planned or was Robert reacting to the Flash of a camera (a single camera), I assume the latter. They continue to play NOTE 30 mintues of amazing music, IMHO surpassing the music of the first set. At the end of the show Adrian shoke a couple of hands and Robert bowed to those who tried to shake his. The band walks off and after 2 minutes of applause Robert walks to the mic. Right as he is about to speak *FLASH* Robert turns and the band (I saw this) walked right out the door marked EXIT. Once again someone took a picture when they should have just sat FUCKING still. I talked to the moniter mixer after the show, and I asked him "Would we have gotten another 10 minute song?" his response "Not only that but you would have gotten a speech from Fripp too" I told my brother what happened today and the first words out of his mouth were OCD (Obsessive Compusive Disorder). Which (I know he is our god) makes sense ... the hand shaking, the no photos. I'll give a man his space and everything, but after paying 30 bucks, you have to expect people to role with the punches. I guess I should take the advice of my friend who went to the show with me and not let his one stupid act destroy a night that was so amazing for me. But one has to admit it is hard. I will try to remember the play between Fripp and Gunn, perfect harmony, and the surprising talents of Adrian on drums. Instead of the acts of one person and Mr. Fripp's brash reactions. Quotes of the night-- Robert Fripp "I love Trey Gunn, and Adrian too!" -in response to a fans yell after a song Fan after the show "Wait till tomorrow on ET" -in response to Fripp's reactions Interesting fact of the night The number of amzing women at the show, I was really questioning the fact I was at a prog show. Sorry for the length, it was an amzing night and I had a lot to get out there. --andy Andrew Miller I can never be you ytsejam at Udel dot Edu I'll smile and learn to pretend I'll never be open again I'll have no more dreams to defend I'll never be open again ------------------------------ End of Elephant-Talk Digest #492 ********************************