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 #552 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 552 Thursday, 29 October 1998 Today's Topics: Club no1/Phish/Et's future Survey #8 Found in Portland OR. V-Drums and acoustic drums - Why not both? "The Definitive King Crimson" Fripp Video imagination.... P4 question Similar "First Day" lyrics Re:DVD The becoming KC/Fripp Video Opinions Drun'N'Bass (no really) GIG REVIEW: Projekct 4 in Boulder GIG REVIEW: ProjeKct 4 Boulder Shows GIG REVIEW: Vancouver show GIG REVIEW: P4 Impressions ------------------ 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 ET Web: http://www.elephant-talk.com/ Read the ET FAQ before you post a question at http://www.elephant-talk.com/faq.htm Current TOUR DATES info can always be found at http://www.elephant-talk.com/gigs/tourdates.htm You can read the most recent seven editions of ET at http://www.elephant-talk.com/newsletter.htm THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmaster) 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 --------------------- Date: Tue, 27 Oct 1998 11:38:35 GMT From: Mickael Vedrine Subject: Club no1/Phish/Et's future Hi Eters, I received Friday two CDs i was waiting for a while : The DGM Collector's club no1, and Phish's "The Story Of The Ghost". There's one song in this one called Brian And Robert. It's an hommage to Fripp and Eno, a song that could have find its place in "Before and After Science" for example. I don't fully understand the deeper meaning of the lyrics (i'm not english), so, if anyone could help (with private e-mails, of course toby). Anyway I encourage all crimheads to take a listen at this release, while it doesn't sound at all like King Crimson. The Live At The Marquee was a good surprise. The sound quality in "Trees" is really bad, but RF had warned us before. I noticed in this bonus track a guitar riff to resurfaced as a part of "Birdman" on "McDonald and Giles". Namelly it's the part with words "Faster up, and faster down". I think it's interesting to note that musical ideas from Fripp/McDonald/Giles/Lake were not only used by the following incarnations of KC. Last, I fear, as someone said in the DGM guestbook, that ET is loosing interest now that we have Robert Fripp's Diary on the DGM website. It seems important to renew it and find a place to be beetween redondance with the diary and lack of purpose. The GIG BIZ part seems to an important one, as you can find it nowhere else, and the Album reviews and opinions to. ET's future is in the hands of ETers. And once again, thanks to all the ET staff for the way they achieve their not so easy work. Mickael http://www.mygale.org/05/mvedrine Boite aux lettres - Caramail - http://www.caramail.com ------------------------------ Date: Tue, 27 Oct 1998 14:27:00 -0500 From: "Wilmoth, Jim" Subject: Survey #8 Would I embrace a Crimson without Fripp? About as much as I would embrace the Beatles without Lennon. However...call it "Project Crimson" and I could embrace that, as it seems to embrace the spirit of the band versus thee band. Let's turn this question around a bit...would anyone embrace a King Crimson with: Jon Anderson, Boz Burell (bass), Keith Tippet, and Ian Wallace? ------------------------------ Date: Wed, 28 Oct 1998 10:24:15 -0800 From: "DOUG EHR" Subject: Found in Portland OR. ATTN. FXF BOX SET OWNERS IN PORTLAND. I found, in a used record shop in portland one (1) disc from the Frame X Frame boxset. Was it stolen from your car?.....Did it end up on the street with your other stuff after you told your (former) girlfriend that you were going down to the corner for "Just one with the boys".(On her birthday)? If so, I may be able to return this orphan disc to it's rightful owner. If this is you, contact doug ehr ehrcraft at prodigy dot net see ya at the show! "Without Martin Barre, there would be no Jethro Tull" ..Ian Anderson ------------------------------ Date: Wed, 28 Oct 1998 11:15:06 PST From: "Nomad Stem" Subject: V-Drums and acoustic drums - Why not both? I'm not sure anyone has mentioned this before, but why can the future Crimson have both V-Drums and acoustic drums? Pat could play the V-Drums and Bill could play the acoustic drums. On stage Fripp could sit to the right front, like he has been doing in the ProjeKcts (I believe), and Bill could be place as far away from him as possible. So the stage configuration would be: Bill Gunn Mastelotto Levin Belew Fripp Bill would be surrounded by plexiglas to further shield the Frippster from the banging. And just think about the challenge of double drumming on such different drum kits. Something to consider. Nomad ------------------------------ Date: Wed, 28 Oct 1998 14:36:15 EST From: Camzone at aol dot com Subject: "The Definitive King Crimson" Just a brief word to say that my page has finally reopened at :- http://www.devlin-web.demon.co.uk/progmusic/kcrimson/ Thanks, Cameron Devlin, Webmaster ------------------------------ Date: Wed, 28 Oct 1998 16:36:44 -0800 From: "Joey Aguilera" Subject: Fripp Video I just picked up a really cool video from DGM with a very extensive interview with Fripp. It contains some 73' performances by KC as well. It also contains a great performance by the League of Crafty Guitarist, including some instruction by Fripp. The funny thing is at the DGM site this video is titled "Careful with that Axe". When I opened the package today the title on the video is: "Robert Fripp: and the League of Crafty Guitarists". When I played the video the Title was "Careful with that Axe" and at the end of the video the title is: "Robert Fripp: The Craft of Guitar"? =) Joey _______________ six degrees of fripp http://www.indiscipline.net/fripp/ ------------------------------ Date: Wed, 28 Oct 1998 20:19:51 -0500 From: David Kirkdorffer Subject: imagination.... Dear ET Readers -- Do you remember a time before there was an internet -- a time before an ET or DGM web-site? Do you remember the way small pieces of information were enough to fire conversations and conjecture about Crimson-ish subjects? Do you remember what it was like to bump into new tidbits, interviews, quoations, reviews...? Do you remember the anticipation and excitement of knowing King Crimson to be: 1) a band again 2) recording new material, and 3) touring What qualities were present with each of these experiences? Was it surprize? Excitement from discovery? Were you appreciative? Was your imagination ignited? Sit with this. OK. So we can have these experiences and ET too, right? Sure, if we don't do things that kill innocence. To be specific, let's: 1) Not judge so much 2) Not ask so much 3) Not require so much 4) Not direct so much What's the point of doing these things? Politely or rudely stated, and with the best of intentions, these things become burdens. David K UNDO ------------------------------ Date: Thu, 29 Oct 1998 03:20:44 -0600 From: Curtis Franks Subject: P4 question As I am neither in the habit of nor of common enough opinion for reviewing these concerts, I should only say that I very much enjoyed both ProjeKct Four shows in Boulder. However short the sets, I imagine that this music will leave very deep impresions on anyone arriving without expectations. And my question: Not until reading Tony's road diary a day later did I have any idea what one of the instruments he was playing was. (For those of you at the Boulder shows, I mean the rather small [c. 26"x2"], black, fretless? bass he played during the Gunn balad somewhat reminiscent of "Into the Wood" from 1000 Years.) Apparently it's the Guild Ashbory bass. I wonder if this is something he's been using for a while, or if it's something he recently picked up. It's interesting to say the least. And of course, I never expected to see Tony behind a Warr guitar either, but . . . Anyway, perhaps some of you Gabriel fans can help me out with this. Curtis ------------------------------ Date: Thu, 29 Oct 1998 11:30:44 +0100 From: "Martin" Subject: Similar Hello I am a big fan of KC and i am trying to find bands that sounds similar. Unsuccesfully. Do you people know any bands that sounds the same. Especially in their 1972-1974 period. Thanks BTW. like your site very much Martin Vrijmoed ------------------------------ Date: Thu, 29 Oct 1998 13:37:25 +0300 From: "Volguine, Maxim" Subject: "First Day" lyrics Would anyone give a "The First Day"'s lyrics, at least "God's Monkey" & "Jean The Birdman" ? Thanx ! ------------------------- Maxim Volgin ------------------------------ Date: Thu, 29 Oct 1998 11:21:19 +0000 From: Gerry Subject: Re:DVD >From: "Ashley" >Subject: DVD >i heard on bbc's "watchdog" that dvd discs and players were >coded. this means if you buy (or, if you live in the real >world) take your disks to another country the player in >say, america, won't play your uk discs. this was apparently >demanded by the major record/film companies. will dgm dvd's >have the same deal? Well this is nothing new, the Sony Playstation is exactly the same, but you can buy a "chip" that skips the country code on the Playstation so you can play the cheaper import versions from USA. I can only imagine that once DVD becomes popular in the UK the same will happen. As for the King Crimson DVD, I would have thought that it will have to have some Country code on the Disc so that the machine will actually read it. As I think the hardware checks this first before it goes further. So if I am right, then they will need to do various versions for the 5-6 different country codes that are in use if they want to sell it worldwide. Gerry Taz at devil dot u-net dot com http://www.devil.u-net.com/psx.html http://members.xoom.com/YorkMAG/index.html ------------------------------ Date: Thu, 29 Oct 1998 12:27:56 -0000 From: "mark" Subject: The becoming ok - i've just been searching on Amazon in excited anticipation of tomorrows paycheck and I unearthed two interesting items. On Amazon.co.uk I found this : The Becoming Robert Fripp Our Price: #7.99 Paperback (October 1998) A James; ISBN: 0853054738 Given there probably aren't too many Robert Fripp's what is this - can't find any clues on the DGM site.... The other is on Amazon.com and is less intruiging but you might want to know about it : No Pussyfootin by Fripp, Eno Cdedit E2 Our Price: $17.50 Audio CD Cd edition (January 2000) Baker & Taylor Video; ISBN: 6300327639 Hope someone can shed some light on the Fripp book. Keep those P4 reviews coming - even though I am sitting here in Scotland frustrated its happening so far away - its nice to hear that after the disappointing practices (at least according to the DGM posts) that they got the "Hot date" sorted out. mark (off to join DGM Club the second his pay arrives....) ------------------------------ Date: Thu, 29 Oct 1998 10:49:59 -0500 From: "future perfect" Subject: KC/Fripp Video Opinions I was interested in opinions on "Careful With That Axe", "Robert Fripp String Quintet Live in Japan". and "K. C. Live in Japan 1995" videos. Please email me if possible. Dave Eichenberger artmusic at gte dot net ********************************************************************* 'Future Perfect' - art music http://home1.gte.net/artmusic/ ------------------------------ Date: Thu, 29 Oct 1998 16:25:27 +0000 (GMT) From: Toby van de Peer Subject: Drun'N'Bass (no really) In the last issue, Les B. Labbauf said, > To embrace the future, one must jump in with reckless > abandon. You are right of course Les, and the point is duly taken! Meanwhile, I have a question about these here V-drums. I think that most people consider the V-drum system to be merely a nineties Simmonds kit, but I'm sure there is more than meets the eye to these Beasties. The bit I'm wondering about is the bass line. In P2, Adrian B. is playing a lot of the baselines through the V-drums, triggering them with the bass drum pedal. How does this work? There could be a pre-written sequence, and pressing the pedal triggers the next note in the sequence. This would be fine and dandy, but it limits what you can do on the bass drum. One extra fill and the sequence has shifted (which perhaps might be what you want). On Space Groove, for example, it doesn't sound like a sequence, and Adrian manages to get back to the root on time no matter what has been played. There was a rumour I picked up that the V-drum system has an onboard sequencer and metronome, and 'plays' some of the stuff for you, extrapolating from your own playing. Is this really true, and is this a factor in the baseline triggering? One last thing. I haven't seen P4 because I live in England, but I'm curious to know if Pat M. is pllaying any baselines (or melody or harmony for that matter) on the V-drums. Maybe there's not room with two low register people (Trey and Tony) there, but it has some interesting possibilities... Anyway, if anyone who has seen p4 has been listening to the V-drums (I'm sure you all have) please let me know! Oh, by the way, I don't play drums at all, but I'm curious as to know what the angle is that makes the musicians so excited by them, other than that they've got a volume knob, which is actually very underrated when it comes to drums ;-) Toby van de Peer "Nothing is true, everything is permitted" - Mrs Thatcher to General Pinochet over tea, Sep 1998 ------------------------------ Date: Mon, 26 Oct 1998 23:40:33 -0700 From: ecerb at indra dot com (Elaine C. Erb) Subject: GIG REVIEW: Projekct 4 in Boulder Sunday afternoon, finally sitting down to the computer, Hector Zazou on in the background. My ears are still tingling from a weekend of amazing, unpredicatable music. Friday afternoon was a beautiful fall day and I lunched with one of the folks with whom I was going to the show. Almost warm enough to eat outside but we settled for indoors and Asian noodles and caught up on music, life, the bike swap meet that would take up our Saturday, and the impending Projekct 4 show. We could both agree that we did not know what to expect but for mostly free music that we would not have heard before. After work on Friday I poked around a few shops still in search of a good birthday present for my brother. Finally came time to journey up to the hill and catch up with fellow ETers, my dates John and Martha being kept in Denver at the Velo Swap until later in the evening. Drank a lemonade, found I am certainly not the only hockey loving Crimson head around, and discussed how we got into Crimson. Wandered over to the Fox finally and as we stood in line I heard introductions being made as MarkJ from Colorado Springs caught up with his tickets. We've written so finally got to meet and talk. Doors finally opened at 7:30, and the search was on to stake out a chair when the Fox only offered about 20 chairs total! 8pm came and went without Fripp but with a steady stream of fellow KGNU staff and the arrival of friends from out of town. We saw Tony walk by and got to chat ever so briefly before he made his way through the crowd and to the dressing room. At 8:30, Fripp finally came on to the stage to replace the prerecorded Frippertronics with live atmospheres. The remaining band members came on after just a few minutes of him solo. From the start they set off into a wild jam with interchanging leads and a constant assault from Pat on the V and other drums. (later he told me that he does use a mixed kit, though heavy on the electronics.) Fripp made wide use of his circle of pedals to move from sounds like shattering glass to the piano stylings that so remind me of Belew. Finally taking a break and moving into a new piece, they continued on their sonic rampage. Full and ferocious, one needed to look for some of the simpler goings on to appreciate the whole at times. Tony's lack of study somewhat showed in a more tentative playing style than what I expect of him. Trey looked to Fripp for his cues and then would take off on steel bending excursions of his own. Again the music came to a somewhat rugged stop and the band called a brief intermission. This allowed the mostly silent audience to finally exhale, visit the bar, and us ladies the opportunity to enjoy the shorter lines created by such male dominated shows. I was standing at the back of the rather small club when the band took to the stage for round two. Moving up to my chair by MarkJ I found the seat to be converted into a table. So I took the opportunity to join Eric, of ET, up at the front of the stage by Fripp's seat. For me, the opportunity to get so close helped me appreciate the interplay between Trey and Fripp. They seemed to share their lines where half the notes were played by Robert and the other by Trey. That they can make such a seamless sound still amazes me. The second set found the band hitting their stride much more. The move tended to be towards some quieter pieces, which I often prefer, giving the music a little more chance to breathe. The individual pieces stayed a bit shorter and were more able to let individuals step out for the length of the piece. After somebody yelled to Tony to "Play something funky," the band seemed to be a bit in a spot as to how to let the music take off. Finally Pat settled into a groove that elicited a big smile from him and a response from Tony. Here he assaulted the upright bass with the bow, using it for percussive effect, moving it below the bridge, and sounding not one bit like one expects from a bass. Yes the evening was heavy on the bass lines, as would be expected from the presence of both Gunn and Levin. Most amazing was that at times Fripp seemed to take over the bass lines as others laid back their beats in search of the next direction the music would go. Saturday was another busy day with me working at velo swap, making an appearance at a wedding, and returning home to catch up with Steve, who came down from the mountains to catch the show. This night we did not make much effort to arrive early but happened upon Robert Cervero (who had walked into the previous night's show at the end of Vrooom after flying in from Berkeley,) Mark, and a gent who had come from England for the show. Also in attendance were some folks who had driven 11 hours to see P4. The Saturday night show got off to a much smoother start with the whole band coming out from the start. The communication level seemed to be a bit higher and Tony seemed a bit more settled in with the music. His comments that he had been practicing some "fast bass" were proven when he flew over some of the parts to maintain his presence in the denseness provided by the others. The other major difference which I found a plus was that the drums seemed to be mixed down a little more, a treat as they had ridden on top of too much of Friday night's music. Again the first set had two separate pieces, though I found them sharing many components. The opening and concluding of these were far smoother than the night before, and after just 40 minutes or so of playing, the intermission was upon us. This immediately called for discussion of which night was better with the general concensus going for night two. Our English friend, who has seen the other Projekcts, said he liked the first night more and that this sounded more like a P1 performance. The higher level of communication and the greater role for Tony led to me voting for Saturday. Mark took some time in intermission to explain to me one of the tricks that Fripp teaches in Guitar Craft. Where players may start on a shared beat, then start playing different lengthed measures, until eventually returning to that shared beat (he used the example of a ten beat measure and an eleven beat measure that would finally converge after 110 beats.) Knowing about this helped me discern it in their playing more readily and hear the chaos that ensues in the middle til it returns to the joint beginning. I find the ability to accomplish that and not to converge in the first phrase just incredible! A few of our other observations were that they did seem to be playing largely around a 4/4 time. Tony and Pat would be working with that while Trey and Robert would take their phrases off into other times but land back in 4/4 with the others. Also interesting how everyone but Tony has a basic instrument he played. Tony, in the meantime, used his funk fingers on the five string, bowed the upright, got funky with the little nylon stringed "rubber bass," and used his stick and WARR. (Yep, apparently he learned some lines on Trey's Warr after the equipment problems in Nashville so has continued to play that as the tuning is different than his.) In set two, Tony again stepped out on one piece where he especially emphasized the bow under the bridge with the two last beats falling right on top of the pickup. It's so great to see him reaching for new sounds while still keeping control of the steady bass line. Obviously he and Trey had worked some in the sound check to be able themselves to do some of the shared bass lines like Trey and Fripp had done on melodic lines. The band played til about 10:40 making us yell for an encore and again returning with a fiery rendition of Vrooom. (Or was it Vrooom Vrooom?) With the conclusion of this, the staff started to herd us out so that Disco Inferno night could take over and make the bar staff more money than our quiet, attentive crowd had likely spent. I was totally excited to see P4. I think it's a great technique for them to provide us with the excitement of live and improvised music and give themselves a working think tank for KC as a whole. It's refreshing to see musicians take an approach like this where one doesn't know what to expect but knows it won't be hearing the greatest hits. Long may the Crimson experiment live on!!! Elaine {She who doesn't vote, has no right to complain} ------------------------------ Date: Tue, 27 Oct 1998 19:21:31 PST From: "Rich Malitz" Subject: GIG REVIEW: ProjeKct 4 Boulder Shows Just got back from Colorado where I saw the first two P4 shows. I was lucky enough to have seen P2 three times, so I could compare the two ProjeKcts first hand. I was also lucky enough to be at the front of the stage both nights! The first night was a little more disjointed than the second night, which those who saw both thought was the better show. Robert and Trey incorporated P2 ideas over Pat and Tony's backing. I recognised a lot of P2 stuff. It almost was like watching Crimson songs being conceived over the past year. Adding each members element to each idea. One particular "song" started the first night with a Robert soundscape, but was different the second. Also just to let you know, Thrak was NOT played at all. The encore both nights was a short version of Vrooom, and it was played similar to the KC version, not the P2 lounge version. The shows were two 45 minute sets plus Vrooom. A funny note, on the last song of the second night, Robert and everyone were all set to end the song together, but when they did, Pat kept going. Robert, standing up, looked at him with a "WHAT ARE YOU DOING?!" stare. Pat kept playing anyway. Tony and Trey were not going to start something new either. They waited while Pat kept going! Pat started to get quieter and quieter, and finally, finished. I could be wrong, but it seemed like a moment of tension between Pat and Robert. It was strange, I'll say. By the way, Pat had more percussion with his Vdrums. He also had a big ride type cymbal and a hi-hat. He also used a shaker and a tambourine stick. He had a mic on his kit for the acoustic percussion. Adrian only had the basic Vdrum. Pat was very exciting to watch and he is deserving to be a Crimson drummer. Tony was just cool to see, but at times he was "lost" while Trey and Robert locked together on P2 riffs and melodies. Other times Tony would come up with some great stuff. See his website on what happenned to his tape of the Nashville rehearsals. Tony played the upright bass, with and without bow, Stick, a Warr guitar (not like Trey, more like a bass), a 5 string bass, and his tiny fretless (?) 8-string (?) bass he held like a baby. He did use funk fingers on the second night, opening number. Robert and Trey used the usual Fernandes Les Paul and Warr Guitar respectively. The Fox Theater was a nice small club to see them at. All four were seen walking around the lobby. I'm glad I got a chance to go see Colorado, it was a beautiful trip. After the first show, I picked up Sometimes God Smiles and found DGM Club1 in my mail box when I got home. Great weekend! Thanks Robert, Trey, Tony, and Pat. Rich Malitz Chicago ETer ------------------------------ Date: Wed, 28 Oct 1998 22:14:02 -0800 From: donevan at intergate dot bc dot ca Subject: GIG REVIEW: Vancouver show I just saw the Vancouver show last night. It was at probably the best venue in the city to see a live show and I thought it was absolutely fabulous. They played two sets of highly improvised material ( aside from the encore). At some moments certain members of the band were listening to what was going on, not playing, and then slowly trying to add their contribution. The rythyms and drum parts were very interesting and not very standard, even for crimson like music. I thought the entire show was great. I think I refered it to my brother as crazed, space freak music. Or maybe it is freak space music. Nonetheless, I really thought it was amazing as did most of the crowd. Don't miss the Projekct 4 tour if it comes to your town. ( I could go into way more detail but that would be much more than I am willing to type) cheers, JZ ------------------------------ Date: Thu, 29 Oct 1998 09:32:34 PST From: "Nomad Stem" Subject: GIG REVIEW: P4 Impressions P4 played in Seattle last night. Here are my impressions. The place was packed! The players were tightly packed on stage. Thankfully no smoking was allowed, and no camera flashes were seen. I'm not sure I can describe what I saw and heard. In general there seemed to be four musicians doing their own thing. The little interplay and collaboration I could make out was between Fripp and Gunn who often laid down various chord progressions that Fripp would provide an intro count for. At least one of these could be recognized as coming from the P2 Heavy ConstruKction piece found on the DGM Sampler and soon to be released Live Groove release. Levin sometimes worked with Mastelotto on the intense beat Pat was playing, but otherwise seemed a little removed from the proceedings, playing more of a supporting role for the benefit of Fripp and Gunn. At times he seemed unsure of what to do next as he looked over the instruments he had, hands in his pockets. During one particular piece, in which Fripp and Gunn were playing together, Tony even found time to take a few photos and crouch stage left watching. Maybe they could call this piece "Duo", as Pat stopped playing too. It was very hard to follow some of the grooves. Pat played some very fast and intense V-Drums, and often only Tony seemed to play with him. Fripp and Gunn sometimes listened to what Pat was doing with a bemused look, and then started doing their own thing, whether it fit or not. And often times it didn't fit. In fact, they'd often count into yet another unrelated chord exchange. The second set started at a less frantic pace not surprisingly. I can imagine Fripp and Gunn might have suggested Pat lay down something less energetic they could play against during the 30 minute break. At times shades of Providence could be heard in Fripp's playing, and perhaps King Crimson had entered the venue. But I think the night was mostly four guys doing their own thing and coming together only rarely. Fripp and Gunn got to practice a number of things together. Pat prooved he could play the drums like a madman, yet lacked the ability to draw Tony into what he was doing like Bruford can, and you could sense the chemistry wasn't quite there. And Tony played the good soldier. He laid down the beat and allowed himself to be in the background, although I'm not sure he had as much fun doing so as he will when he plays with the BLUE formation next month. The band did one encore, VROOOM VROOOM, as the kind and generous crowd put together a clapping groove of their own to call them back. It was very odd to hear something recognizable after all the previous improv. I've heard better renditions, but the crowd seemed happy nevertheless. So those are my impressions. I was open to everything they did, and realize this is R&D. Some of what I heard put a smile on my face, some of what I heard didn't. We heard stuff we hadn't heard before, yet I have a feeling that if and when KC record again, what they do will also sound unlike any of what these ProjeKcts have been doing. I am curious as to what Fripp's own impressions of these performances will be, this being the first performances he has done since he began writing his public diary. Nomad ------------------------------ End of Elephant-Talk Digest #552 ********************************