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 #557 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 557 Friday, 27 November 1998 Today's Topics: NEWS: What News From The Front? NEWS: Update on 1999 Soundscape NEWS: Gordon Haskell NEWS: Gordon Haskell has added shows in California NEWS: Gordon Haskell in the Bay Area NEWS: Gordon Haskell NEWS: NEW BELEW ACOUSTIC COLLECTION ON THE WAY Is Adrian Belew too cool for King Crimson? help with cds MD/DC/VA, USA Talkers bill rieflin Oh wow, there *are* credits on "Sometimes God Smiles" Tribute RE: Fripp & Sinfield New DGM Sampler Belew on Tribute God Smiles; Marquee 1969 "Sabre Dance", ESC, "Celebrity" No tours in Europe? Flute on "Exiles" Moraz Bruford David Cross Thanksgiving Praise for Robert Fripp on ET Larks on Accordion, Blue address help GIG REVIEW: Painted Bride Shows GIG REVIEW: Fripp-notised in Philly GIG REVIEW: NYC, WFC, Nov. 18,19th. GIG REVIEW: Robert Fripp at the Painted Bride, Philadelphia, 22 November 199 GIG REVIEW: Fripp in Philly ------------------ 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: Sun, 22 Nov 1998 16:40:25 GMT From: crimson at blackcat dot demon dot co dot uk (Mike Dickson) Subject: NEWS: What News From The Front? People -- Just a reminder for you all that there is a way of finding out what has happened to your ET subscription should it suddenly seem to disappear. If you send an e-mail to admin at elephant-talk dot com with the word BOUNCEINFO in the body of the message then you'll get a message back advising you as to whether or not any error was caused when we attempted to send an issue of ET to you. Note that this is operating in a slightly different way to before. Whereas before you would have received a full list of *all* 'bounces' over the last couple of months, you will only now receive any references made specifically to your own e-mail address. The reason for this is that not all the e-mail addresses which appear in the list are actually invalid - sometimes the 'bounce' is caused by a temporary problem. Whichever it is, ET's subscriber lists are and will remain private. Several people have approached help at elephant-talk dot com asking about the issue of mailing lists having access to the ET subs lists. As I've said before, the ET subs lists are not and never will be available to anyone outside of the ET team. The implication of receiving a number of e-mails expressing the same concern all within the space of one week is that somehow someone has obtained a number of ET subscriber e-mail addresses. Unfortunately it is hard to say whether or not they were obtained from an edition of ET (which, after all, is available to anyone that asks for it) but I can only assure you all that it wasn't sourced from ET Admin or anywhere else directly associated with the newsletter. Mike Dickson, Black Cat Software Factory, Scotland : Fax 0131-271-1551 crimson at blackcat dot demon dot co dot uk : ET Administrator : Columnated Ruins Domino ------------------------------ Date: Mon, 23 Nov 1998 20:58:26 -0600 (CST) From: flaherty michael w Subject: NEWS: Update on 1999 Soundscape I have recieved confirmation from Possible Productions regarding the re-release of "1999". The two CD project that was invisioned last year has been replaced by a simple one CD w/ a bonus track. My guess (and my hope) is that the bonus will be the track included on "God Hides" (2006), but this is speculation. This is somewhat disappointing news, I suppose, but for me the news that there will be a live recording from the G3 tour sometime in 1999 (release date unknown at this time), one that we may assume will have far more new material than any re-release of 1999 would have, makes up for the loss. Michael Flaherty ------------------------------ Date: Tue, 24 Nov 1998 19:59:38 -0800 From: Rob Cervero Subject: NEWS: Gordon Haskell Gordon Haskell will be performing on Sunday, November 29 at the Fourth Street Tavern in San Rafael, north of San Francisco in Marin County. He played an acoustical set there Sunday, November 22, and the management was so impressed that they're arranging a full band to back up Gordon for the 29th. Show time is (I believe) 8 pm; you can call 415-454-4044 to confirm. The venue's located at 711 4th St. in San Rafael, just off the 101 freeway. Come on Bay Area ETers...catch the vocalist/bassist of Lizard/Cadence & Cascade fame as he performs some of his new and past material. The Nov. 22 performance was great -- wonderful compositions, soulful lyrics, and a warm ambience -- and Nov. 29 only promises to be better. Besides his California gigs, Gordon's also playing in Kansas City on Dec. 6 & 7 and Chicago on Dec. 11. I don't know the venue for Kansas City, but here's the announcement for Chicago: A rare concert event: Playing here for the first time in 20 years, singer songwriter Gordon Haskell (early King Crimson vocalist and bassist) with singer songwriter Jim Pembroke (Wigwam). The show will consist of two separate sets with Gordon accompanying himself on acoustic guitar and Jim on piano. The performance will be at the Abby Pub, 3422 W. Grace in Chicago on Friday, December 11th. The phone number is (773) 478-4408. Tickets are $10 in advance (through Ticketmaster or at the Abby Pub) or $12 at the door the night of the show. ------------------------------ From: "John Selby" Subject: NEWS: Gordon Haskell has added shows in California Date: Wed, 25 Nov 1998 11:37:51 -0800 Two New shows have been added: Sunday 29th November, 9:30pm Fourth Street Tavern 711 4th San Rafael California Saturday 5th December, 9:00pm St Stephen's Green 1026 Wilshire Blvd Santa Monica California http://www.haskell.co.uk/gigs.html ------------------------------ From: "John Selby" Subject: NEWS: Gordon Haskell in the Bay Area Date: Fri, 20 Nov 1998 13:48:37 -0800 Gordon Haskell will be visiting the Bay Area November twenty-second through the twenty-seventh. I have a very tentative show booked for him the twenty-second at the Fourth Street Tavern 711 4th in San Rafael 415-454-4044. Please phone first to confirm. Any one who could help secure some other shows on such short notice, please contact me at 415 389-1376. For information: http://www.haskell.co.uk/ ------------------------------ From: "John Selby" Subject: NEWS: Gordon Haskell Date: Fri, 20 Nov 1998 16:18:02 -0800 The show on the 22 has been confirmed 9:30 or !0:00 start. One hour or ninety minute set. "Gordon Haskell will be visiting the Bay Area November twenty-second through the twenty-seventh. I have a very tentative show booked for him the twenty-second at the Fourth Street Tavern 711 4th in San Rafael 415-454-4044. Please phone first to confirm. Any one who could help secure some other shows on such short notice, please contact me at 415 389-1376." For information: http://www.haskell.co.uk/ ------------------------------ From: "Rob Murphree" Subject: NEWS: NEW BELEW ACOUSTIC COLLECTION ON THE WAY Date: Sat, 21 Nov 1998 18:16:58 -0600 Hi All ET-ers, I just received a Press Packette regarding the new Adrian Belew release, Salad Days. This 16 track disc contains all acoustic songs from THE ACOUSTIC ADRIAN BELEW, BELEWPRINTS, and Adrian LIVE ACOUSTIC IN ARGENTINA. Thirsty Ear records is very enthusiastic about this release and will be promoting it with wide distribution to all major retailers for the February 9, 1999 street date. Start placing your orders with your favorite retailer immediately so they'll have it in stock on the release date. Songs included: The Lone Rhinoceros, Men In Helicopters, The Rail Song, Everything, Three Of A Perfect Pair (Live In Argentina), Return of the Chicken, Never Enough, The Man In The Moon, I Remember How To Forget, Bad Days, Fly (Live In Argentina), Young Lions, Things You Hit With A Stick, Cage, Dinosaur, and One Of Those Days. While the majority of the disc contains previously released songs, the LIVE versions of ToaPP and Fly are definite MUST- HAVE tracks for the avid Belew collector. Salad Days is designed for fans and potential new fans alike... both of which may have never been able to find the previously released acoustic albums. For more information, including the Thirsty Ear Press Release, please visit: http://www.murple.com/adrianbelew/saladays.htm Thanks for listening! -Rob Your Complete Guide to the Twang Bar Rhino King!!! Rob Murphree's Adrian Belew WWW Site http://www.murple.com/adrianbelew ------------------------------ From: "RAYMOND J RAUPERS JR." Subject: Is Adrian Belew too cool for King Crimson? Date: Fri, 20 Nov 1998 16:09:33 -0500 After months of digesting anal retentive posts regarding flash bulbs and "audient behaviour" I am faced with the fact that we are faced with a very, very, bored and pampered King Crimson. Realizing that my responsibility resides in consuming, I can only ask myself "is Adrian Belew too cool for King Crimson?" Given my affection for Hendrix' "The wind Cries Mary" and KC's "Walking on air", I despise the comfort of millionaires that decline the opportunity to serve me and personally I believe Adrian compromises himself when he accepts any structure. God damn the paycheck!! Dig me but don't bury me apothetically. Where is Frank Zappa when you need him anyway? Sincerely, Please explain how I am wrong: Raymond... [ No explanations please -- Toby ] ------------------------------ From: "Fred Rogers" Subject: help with cds Date: Fri, 20 Nov 1998 21:08:51 -0600 greetings fellow E.T.s I'm hoping that someone who has allready gone through the crimson cd catalog might help me in understanding if all the 1989 definitive edition are the same? I've noticed that my Islands cd dosn't have coda at the end of islands? and is there noticable tape hiss on the cds as well? also is the cd of starless of higher quality mastering ? any help would be great e-mail me at rogerscf at ticon dot net ------------------------------ From: Jdmack01 at aol dot com Date: Sat, 21 Nov 1998 12:59:22 EST Subject: MD/DC/VA, USA Talkers Hay Yawl, The bands Discipline and Dark Aether will be playing at Phantasmagoria in Wheaton, MD on December 5th. I've never heard either of them, but I seem to remember reading that Discipline is King Crimson influenced (hence, the name). Perhaps those who will be attending the show can arrive a bit early to meet and greet a bit before the show. No need to reply, but if someone could wear a King Crimson shirt that night, then we can all gravitate around that person and find each other (unfortunately, I don't own one). J.D. Mack ------------------------------ Date: Sat, 21 Nov 1998 20:17:51 -0800 (PST) From: J Young Subject: bill rieflin > So, this Bill Rieflin plays guitar? The only Bill Rieflin > I've ever heard of was the drummer for Ministry... same > spelling even. Neatly explains why the Frippster would > talk to Bill Rieflin about stuff if this is true. Same guy. He sat in with los gauchos (on drums) at the glob-mob-a-looza and was listed as ex-ministry in the program. he pops up (with fripp) on 10 seconds, too. I don't know if he plays guitar, but one doesn't have to play guitar to participate in the seattle guitar circle events. They claim to accept non-musicians, too. His seminar is supposedly "rhythm in music" which can certainly be taught without playing guitar. for all I know, bill's a virtuoso guitarist, and it's a good bet he's better than me. Shamus, who still wants to hear Los Gauchos do "Stigmata" ------------------------------ Date: Sun, 22 Nov 1998 06:10:47 -0500 From: Steve Smith Subject: Oh wow, there *are* credits on "Sometimes God Smiles" > From: James Hines > Subject: Review of Sometimes God Smiles > > 16.Radical Dance-Sabre Dance (prev. unreleased): Credited to > Fripp, Mastelotto, and Singleton. I saw James's review above my own "review," and immediately went back to the booklet to look for the credits I'd missed... only to find them under the CD on the back tray card. Whoops. I guess if I'd seen this I wouldn't have asked if this track was supposed to be the Fripp/Gunn/Rieflin thing. And most likely would have listened with different expectations. Which I shall now do. > 29.Matt Seattle-Lindisfarne (from Out of the Flames): > Bagpipes! To my ears, Uilleann pipes. Similar, but different enough to be worth mentioning. Other random notes from ET 556: 1. Folks who want to know more about Iain Ballamy's current doings should check his website, at http://easyweb.easynet.co.uk/~iainballamy/ 2. For that matter, you'll find Django Bates at http://www.djangobates.co.uk/ 3. It was interesting to me, given my own experience in my truncated hearing of the Wednesday night soundscapes performance at the World Financial Center, that the only soundscape performance Ethan Peterson found less than successful was the one for which *he* arrived late. Perhaps timely arrival is mandatory for the soundscapes experience? Anyway, despite my declaration of intent, work conspired to keep me away on Thursday night, so thanks for the report, Ethan. 4. Finally, Frippless2 at aol dot com, who mentioned that the Bang on a Can All-Stars would be performing the night after Fripp's two days and nights, didn't mention and most likely didn't know (it wasn't printed in the Fripp program) perhaps the most tantalizing synchronicity of all: BoaC performed their rendition of Eno's "Music for Airports," paired with Terry Riley's seminal minimalist piece "In C." Missed that concert, too. David Beardsley, if you attended, send me a report! Wow, two longish, itemized posts in a row... Steve Smith ssmith36 at sprynet dot com http://home.sprynet.com/sprynet/ssmith36 NP - Bangles, "Greatest Hits" (Don't you laugh! I attended a magnificent concert in tribute to Sandy Denny tonight, and two former Bangles were among the participants... I went so far as to have a photo taken with one of them, something I've *never* done before - It was Michael Steele, the bassist, with whom I was thoroughly smitten 8-10 years ago... gad, the secret's out...) ------------------------------ Date: Sat, 21 Nov 1998 10:01:00 -0700 From: Herb Heinz Subject: Tribute A few thoughts on the tribute: 1. I think we need not limit ourselves to the idea that one person must take this project over. Perhaps a committee could be formed consisting of different people with different strengths and interests. This would be challenging because it wouldl require a level of coordination and trust. Note that the Gentle Giant tribute, Giant Tracks, was produced in this way. 2. Maybe it doesn't need to be a CD that is produced. Misha suggested RealAudio links - unfortunately the sound quality is pretty poor. What about MPEG3? I am not an expert in this stuff, but maybe someone reading this is. 3. We need to be concerned about royalties. Even posting RealAudio files for free may not be legal. I don't know, but again I bet someone does. 4. Perhaps this discussion should be taken off of ET. Maybe a separate mailing list could be created with participating musicians and/or those interested in the project. That might be a way to hack out these and other issues. - Herb -- Herb Heinz herb at isproductions dot com http://www.isproductions.com/herb HERB'S NEW CD IS HERE! http://www.isproductions.com/herb/failure.shtml ------------------------------ Date: Mon, 23 Nov 1998 10:34:09 -0800 (PST) From: Michael Tanigawa Subject: RE: Fripp & Sinfield >It's a very interesting idea to have a textwriter as a permanent member. This was not without precedent, e.g. Keith Reid of Procol Harum. >My impression is that Ian McDonald introduced Peter >Sinfield to the band when he joined it, Sinfield being a >friend of his. On the Marquee cd, Greg Lake tells the audience that the lyrics of "I Talk to the Wind" were written by "a friend of ours called Pete Sinfield". This seems to suggest that Sinfield was merely an associate of the band rather than a full member at the time. >Although Sinfield wrote all the band's recorded lyrics for >the first four albums, he did not write the lyrics for >several of the pieces the band played in its first year, >such as "Get Thy Bearings" (written by Donovan), "Travel >Weary Capricorn" or "Drop In" (which, with different lyrics >by Sinfield, became "The Letters" on ISLANDS). On the Chesterfield cd Ian McDonald says that "Drop In" was written by "Fripp, the guitarist". If he means the words also, then that is a remarkable statement. I think the lyrics would be worthy of even Jim Morrison. Mike ------------------------------ From: krweiler at west dot raytheon dot com Date: Mon, 23 Nov 1998 10:11 -0800 (PST) Subject: New DGM Sampler How does one order the new DGM Sampler??? (Sometimes God Smiles--DGM 9808) from the DGM online site??? It IS located on aforementioned site, --but-- one as confused as I am-- could not and did not find a box to check so as to put said CD into one's "basket" in order to make a purchase. Please advise. Thanks. --("and publishers would spread their news, and print their music far and wide") KRW ------------------------------ Date: Mon, 23 Nov 1998 15:52:10 -0500 From: dschippe at ford dot com (David Schipper (R)) Subject: Belew on Tribute The other weekend I picked up a interesting little CD. It's called "For The Love Of Harry - Everyboby Sings Nilsson". It's sorta like a tribute to Harry Nilsson with a bunch of different artists covering a Harry Nilsson song. (I quess it IS a tribute album, not SORTA LIKE ONE....Duh) Anyway, Adrian Belew has a recording on it of "Me And My Arrow" - from the TV special that Harry did ages ago. AB plays all instruments and vocals on the track. Just thought I'd mention it, since I haven't heard it mention here before. For those who are interested - it came out in '95 and is now hitting the budget racks (in Best Buy out there in the states, anyway). Dave S. ... NP: Steen-Nokleberg - Grieg Piano Music, Vol. 12 - Agitato ........................................................................... At the Houses of Parliament Everybody's talkin' 'bout the President We'll all chip in for a bag of cement.... - P. McCartney- ------------------------------ Date: Mon, 23 Nov 1998 16:26:24 -0600 (CST) From: flaherty michael w Subject: God Smiles; Marquee 1969 Recent DGM releases have looked at Fripp's future and his past. My comments, for what they're worth: I. Sometimes God Smiles, like "God Hides", has an uncanny appeal to it; it is almost as if a group of friends are taking turns playing songs for each other. In an attempt to put more material on the disc, the tracks are shorter--sometimes annoyingly so. For example, having read that Bill Nelson's "Profane Sanctuary ..." is an avant-garde instrumental, I settled in ready to listen, only to hear Peter Hammill begins HIS track almost instantly. But who cares? It's a very nice set at a very reasonable price. For me the highlights are the P1 track and "On My Mother's Birthday." Of the former I would simply say "keep it coming." As P1 only played four sets together, I wonder if a "complete ProjeKct One" might be released. II. I have tended to prefer post-Islands KC to the earlier versions. I still do, but the "Epitaph" set certainly surprised me: this group's capacity for creative improv went far beyond what was revealed on their record. "Marquee" could not possibly have that impact: it's more of the same. But the set contains some wonderful momements, especially in the improvs. It is also nice to have a version "I Talk to the Wind". (The exclusion of the one performance of this track on "Epitaph" (because the mellotron was out of tune!) showed how little those being bootlegged understand the reasons for the bootlegger's success.) As for "Trees", well, it's free, and the vocals at the beginning make the track's inclusion more than worthwhile, despite the sound being as bad as Mr Fripp promised. That, by the way, is exactly what Mr Fripp has delivered to his club members: what we were promised. Michael Flaherty ------------------------------ Date: Mon, 23 Nov 1998 06:51:59 -0600 From: Curtis Franks Subject: "Sabre Dance", ESC, "Celebrity" 1. Is anyone else as completely blown away by "Sabre Dance" as I am? No matter how many times one here's the words, "this is unlike any music you've ever heard." Self-referencing sentences aside, I am curious as to whether these musicians, Mastelotto, Fripp, and Singleton, plan to perform or record a side or two. 2. What has become of this summer's gossip involving the Europa String Choir's new release? While I've been able to stay quite entertained by reading the current in a series of delay notices for the P1 "Live at the Jazz Cafe" and P2 "Live Groove" releases, I can no longer act as if the ESC record is not my primary interest. 3. Not at all subtly, the new American film "Celebrity" suggests that there are two types of people in the world, those who stop at nothing to receive autographs and those whose livelihoods depend on their position to give them. To whatever extent this is true, I can only complain so much - after all, it makes good material for Woody Allen satire. On the other hand, what aside from respect is due to a square peg in this classification? I would guess that Mr. Fripp's reaction to the right approaches would be somehow more cordial than those circulating in recent debate. The right approaches? Well, to contrast whatever goings on might have tainted the Bolder P4 shows for some listeners, Mr. Fripp seemed at once pleased with and appreciative of my thanks for his efforts to arrange an under 21 section in the theatre those nights. Perhaps I'm only pleased with my 'encounter' because I neither expected nor desired anything more than a chance to thank Robert for actively carrying out his stated goals as a musician, in this case reaching an audience who might otherwise be kept from the music. ------------------------------ From: Robert_Lethbridge at huntsman dot com Date: Tue, 24 Nov 1998 00:50:28 -0800 Subject: No tours in Europe? Just finished reading Robert's latest writings on the DGM site and was quite saddened. It seem as though the great KC or any Project is unlikely to visit our shores (If I read him right). Robert mentions festivals as the only possibility and that did give me an idea: The latest DGM sampler "Sometimes God Smiles" is superb, even better than the last and at #4.99 represents an unusual value for money purchase, if a festival is what is required - what about a DGM one with artists currently on the label? Using the DGM site, ET site and DGM club it would be easy enough to get advance bookings and payments to ensure profitability of the venture, maybe this would be unrealistic - but it's an interesting idea for all countries where they are not likely to go normally. ------------------------------ From: Biffyshrew at aol dot com Date: Tue, 24 Nov 1998 09:20:13 EST Subject: Flute on "Exiles" The flute on "Exiles" is apparently David Cross. I have a reproduction of what appears to be a Crimso press release of the period, and Cross is credited there with "violin, flute, mellotron." Incidentally, the same source credits John Wetton with "bass guitar, viola, vocals," although I'm not aware of Wetton's ever having played viola with Crimso. (He did take up violin in his previous band, Family--as he put it, "there was a lot of bluffing around with wah-wah pedals" to disguise his lack of ability on the instrument!) There is also a lengthy "live" (i.e., not mellotron) flute solo in the long improv from the October 17, 1972 Beat Club performance. Apparently this is Cross, as the other band members seem to be accounted for. Could this mean that video footage of Cross playing flute with Crimso exists in a vault somewhere in Deutschland? Your pal, Biffy the Elephant Shrew @}-`--}---- ...visit me at http://members.aol.com/biffyshrew/biffy.html ------------------------------ Date: Tue, 24 Nov 1998 13:40:55 -0800 (PST) From: Matt Campolmi Subject: Moraz Bruford Paul Wright's email about Moraz/Bruford reminded me that I'm never going to own these albums. Why doesn't some random record company rerelease these? Why can't I listen to Moraz/Bruford? What did I ever do? Matt _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ From: "George Khouroshvili" Subject: David Cross Date: Wed, 25 Nov 1998 07:03:02 PST Hello! I wanted to ask for some information on D.Cross. I have his albums "Big Picture", "Testing to Destruction" & "Exiles". I've also just ordered "Memos from Purgatory" & Low Flying Aircraft (with Keith Tippett). Can anybody tell me if David has other albums or if there are other artists he contributed to? I will be very grateful if you just send me some info on his activities before and after Crimson. Thanks in advance, George This night wounds time... ------------------------------ Date: Wed, 25 Nov 1998 10:21:20 -0500 (EST) From: Daniel De Blasio - 99 Subject: Thanksgiving Praise for Robert Fripp on ET It is nearly Thanksgiving. What am I thankful for? Robert Fripp. His hospitality at the Painted Bride Arts Center in Philadelphia was mesmerizing as only one who gently nudges at the truth can offer. Through his interaction with the audience an emphasis was placed on clarity of speech and the meaning behind words. These topics, though subtly presented, were delicately linked to an article that clumsily praised Mr. Fripp. He took his humorous digs at the article and then expressed his appreciation as only an educator who wished to point out the distinction between feeling and sentiment would. I was learning. I now know for a fact that Robert Fripp is not only a healer, but a teacher as well. He could be the most sensitive and concerned musician out there. With all of this in mind I will no longer be quick to doubt his musical judgement whether concerning King Crimson or otherwise. A warm Thanksgiving to all. Graces, Daniel DeBlasio ------------------------------ From: Hocow at aol dot com Date: Wed, 25 Nov 1998 13:13:59 EST Subject: Larks on Accordion, Blue address help Helloooo, I don't know if anyone's mentioned this before but I thought I'd pass on a quick heads up on something I've enjoyed a lot lately. Now don't laugh, I'm serious. If your horizons are wide enough that you checked out Bartok because it sounds like Larks Tongues being played by a string quartet then you might want to dig up something by the late Astor Piazzolla. He had a small tango ensemble and the music has a lot of the intensity of say 70's Crimson with a latin accent. Piazzolla's instrument was the bandoneo'n. It's an accordion type instrument. Other soloists are violin, cello, piano, and acoustic guitar. There's not a trap drummer but there is very effective percussion scattered about. All in all the music is an unusual flavor that I think would appeal to most Crimheads who don't limit their listening to rock (not that there's anything wrong with that.) Yo Yo Ma has a very nice cd called Soul of the Tango which is all Piazzolla music. It even has one of those post mortem duets. Seriously, you must check it out. I also have a tape called Zero Hour which is excellent. Add another enthusiastic thumbs up for God Smiles. It stands on its own as an album as far as I am concerned. Some of the transitions are amazing. I thought an excerpt from Bill Nelson was the intro to Peter Hamill's tune until I'd had it a few days. Can't wait to check out Mcfall's Chamber. Lastly, I've lost the address that was in a recent letter to ET with the site with the Bruford Levin B.L.U.E. realaudio concert. Please could someone send it to me? Sorry, Toby, I've spent quite awhile scanning back issues and I just can't find it. Write me at hocow at aol dot com. Thanks in advance for your help. Brad Wilmot ps Does anyone have either Bears cd that they would sell or possibly trade? ------------------------------ From: "David Cohen" Date: Mon, 23 Nov 1998 12:05:03 -0500 Subject: GIG REVIEW: Painted Bride Shows This past Sunday I attended the 2 Fripp shows in Philly. Won't waste time describing the performances. As expected, the Soundscapes were amazing. Fripp was surprisingly funny and animated during the lecture portion of the show (during the second show he talked for more than an hour). Unfortunately, the second show was marred by the presence of a baby that wouldn't keep quiet. Come to think of it, the parents were making more noise than the baby. Fripp rewarded this inconsideration with Snickers to the baby and the parents. Perhaps next time, I'll make a nuisance of myself, this way Fripp will approach me and give me candy (I've always wanted to meet Fripp up close and personal - now we all know how!!). Surprisingly attendance was way down from last years shows in which one show sold out. These were nowhere near sell-outs. Of course, neither was Kiss the night before. dc nj ------------------------------ Date: Mon, 23 Nov 1998 21:21:00 -0500 From: Peter McClymont Subject: GIG REVIEW: Fripp-notised in Philly This respectful and appreciative audient travelled 300 miles round trip from D.C. for a pleasant Sunday of Fripp's soundscapes at the cozy Painted Bride Arts Center near the Ben Franklin Bridge. Weather, (lack of) traffic, Guinness, meeting fellow enthusiasts and the music (and in spite of aching back, crummy food, getting lost (twice) and not enough time to enjoy the sights) combined to make a highly enjoyable and uplifting experience. I caught Fripp's soundscapes last December at the barn-like Birchmere in Alexandria, Va. - is that place a bowling alley or what? The Painted Bride was a completely different affair seating 200 or so all reasonably close to the artiste - a dozen or so spread out on cushions at the performer's feet. My original intention was to take a few notes of the performance. But, I gave up after awhile and listened (listened). Unusual to see so many people take notes at a concert. As last year, Fripp played for an hour or so then spoke and took questions from the audience. I am not sure how the rest of the audience takes this. Fripp, too often, could be construed as arrogant and condescending. Is he achieving validation of his status as egg-head muso, smart-arsed Brit, stuck up art rocker? Well, thinking this through leaving Philly last night and reflecting on events today, I am convinced that this brings Fripp closer to his audience and, in some cases, vice versa. But, Robert was a bit harsh on one eager young man who asked a long and complicated question relating to the Crafty Guitarists version of Bach's Prelude in C. Fripp had a point (the guy let fly with a load of pretentious waffle), but be kind to your fans. From this audient's perspective, the second series of soundscapes excelled while the first audience asked better questions. After the first set, Fripp amused us with three stories about Philadelphia - including Fripp sans culottes in his hotel on Saturday night. I trust another audient will relate this tale. And, as will be to no surprise to many readers, he read out and commented on, with no little humour, a concert preview published in the Philadelphia Weekly. (If you're interested, there is a cyber-version of the paper where you can see the article.) There were some interesting questions about what Fripp puts into and gets out of the music. Fripp gave much insight. The evening's questions were a bit darker. A woman asked about the drive to 1981 and whether Fripp was positive about the new millennium. After opting for the positive, Fripp told of poverty and despair in today's Eastern Europe. Sitting at Fripp's feet for the second set - no glasses, no facial hair, but a t-shirt promoting the Outer Banks of North Carolina - was quite a treat. Not in any hero worship way, but more because it gave a better perspective on the music creation process. Whereas the first performance was, to my ears, small brush strokes the second was big architectural forms. The final piece, in particular, was long nave and flying buttresses - Salisbury Cathedral, maybe? But, oh my aching back! Well, enough of my pretentious waffle. Nice gigs, Robert. Pete McClymont P.S. - I can thoroughly recommend "What Burns Never Returns" by Don Caballero to all Crim-heads young and old. ------------------------------ Date: Fri, 20 Nov 1998 19:04:57 -0800 (PST) From: Reny Ninan Subject: GIG REVIEW: NYC, WFC, Nov. 18,19th. Hello, Not much of a review, maybe but here it is, as an attached text file: -rgn ---INCLUDE ATTACHMENT ONLY IN ET, PLEASE!--- _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com This is my first opportunity to contribute to ET: ROBERT FRIPP - ALONE - SPACE MUSIC Winter Garden, World Financial Center, NYC Wed. Nov. 18th., 12:15 pm, Wed. Nov. 18th., 7:00 pm, Thu. Nov. 19th., 12:18 (?) pm. This was my first opportunity to see Robert Fripp play guitar in person, apart from Guitar Craft 14, June '86. I made the trip up from Philly with a friend with whom I shared no conversation during these performances. I sat one chair away, to really "get into it". We walked down the steps and found seats while Robert was completing his soundcheck (Wed. around 11:30). I heard vibraphonic sounds, as on Space Groove from ProjeKct2. During the performance, this particular sound seemed to be used by Robert to mark the beginnings and ends of "pieces". But unlike the performances to follow, this one seemed .. well, "choppy", full of ideas introduced, but then not developed. At one point there was almost recognizable "electric guitar". Like the start of the blistering solos Fripp's played on "Satori In Tangier" and other pieces, but then... onto more "ordinary" Soundscapes. Wednesday evening's performance, on the other hand, and Thursday's lunchtime performance too, were much better, in the sense that they were more of the sort of thing one expects from having listened to recorded Soundscapes on CD. That's not to take away from the live aspect of Soundscapes - this is truly music that must be experienced live. Though it's not too exciting! Soundscapes seems to have to do with "expectations", "restraint" and, just to end this sentence nicely, with "how to deal with things it's no fun dealing with". Apart from that, for those of you who want to be in the know - Robert walks onstage, sets his watch down (each performance was 1 hour; no more, no less), plays, walks off stage towards the end of the piece, when I suppose the playing is done, then steps forward to the side of the stage, then returns to his guitar. And yes, Soundscapes takes some amount of dealing with technology, but the technology never seems to be intrusive to the performance of the music. Well, this might be not a very good gig review, but it bothers me that the first show was so different from the next 2 following ones. Not as an "audient", in that I don't feel I didn't get my money's worth (it was free!), but that as an audient, I'm very interested in why. I'm very comfortable with music having to do with context, but what went to make up that context ? Who can tell ? Robert ? I'd love to know... I think that would help me, as an idiot amateur bass player, and us all, as audients. Regards, all, Reny Ninan rninan at rocketmail dot com ------------------------------ From: "Ashley Collins" Subject: GIG REVIEW: Robert Fripp at the Painted Bride, Philadelphia, 22 November 1998 Date: Sun, 22 Nov 1998 23:16:48 -0500 "[Gaelic harpists] had to be able to do three things: make the audience laugh, make the audience cry, and lull the audience to sleep. If they couldn't do all three, they weren't 'there.'" -- Robert Fripp (whose prose is severely butchered in this paraphrase) in response to a young audient's inquiry as to whether the music he had just played was intended to make people sleepy. So is Fripp "there?" Let me just say this: I was very much looking forward to this evening's show. I have enjoyed all of the Soundscapes CDs he's released and thought it would be only proper for me to experience this technique firsthand. I must say, though, that I was only partially prepared for what was in store . Let's take the three criteria for "there" in reverse order. Ignoring the young (I'm guessing she was between 11 and 13) audient, who obviously felt a bit drowsy through the performance, there have been a few times that I remember dropping into a lovely sleep with 1999 playing in the background. I will say that there was no dozing on my part during the performance, as I was attentively observing Robert's hands and feet throughout; it was utterly fascinating to see just how this music comes into being. Reading about it in ET gave me an idea, but this process truly needs to be seen to be fully appreciated. Criterion number two: Well, what can I say? There were points at which I was just overwhelmed by the performance. Again, the soundscapes discs have some lovely moments, but they're no replacement for actually being there. And the first criterion? I have to admit it, I laughed to myself several times during the performance. Not as one would laugh at a clown or comic, but with a somewhat incredulous joy at what happening in front of me. This paragraph (if not the whole damn post) would be right at home in Notes from the Edge, I realise, but gimme some slack; I'm attempting thematic continuity here. If I had any complaint, it's that I didn't walk out of the theatre on some incredible natural high. Granted, the (entertaining and enlightening) Q&A session at the end might have brought me down to earth somewhat, or maybe it was just that the speeding ticket I received while en route in Delaware was still lingering. And truth be told, I can only remember two instances where I've felt so transformed (the first time I saw Scorsese's Kundun, and after a performance by the Grupo Aymara, a Bolivian folk group I saw back in college); if such instances occurred more frequently, they'd most certainly be cheapened. So let's just say that I'd attend another showing in a heartbeat (I only attended the 2:00 performance, since $21.50 x 2 is a bit out of my range, and had I stuck around for the 7:00 show, I'd still be on the road now, trying to make up for that lack of a natural high with an artificial one, courtesy of some stale coffee from the myriad rest stops I would no doubt be frequenting). Soundscapes naysayers, I suggest you take the time to see this firsthand, then make your judgments. Ashley Collins Frasier2 at email dot msn dot com ~ An Indeterminate Page of Prog Appreciation/Adulation http://www.geocities.com/SunsetStrip/Mezzanine/5836/ ~ Frame by Frame: A Critical Tribute to Martin Scorsese http://www.geocities.com/Hollywood/Boulevard/2108/ ------------------------------ Date: Tue, 24 Nov 1998 17:16:07 -0500 From: Victor Herrera Subject: GIG REVIEW: Fripp in Philly Dear fellow audients, enthusiasts, crimheads, Frippheads, Hi, this is my first time so please be gentle! Besides, English is not even my first language... I just got back from Robert Fripp's Soundscapes performance at 2:00 pm in the Painted Bride Art Center in Philadelphia. I am compelled to say that it was a superb performance by Fripp, as expected. (As an audient, my only expectation from Fripp is that he be Fripp) But besides the music, which we all know and love, and which had me drooling like a little baby for more than an hour, I like to comment on the fact that, contrary to popular belief, Mr. Fripp IS a warm, pleasant guy, and can be downright hilarious! Reading the postings about Fripp's performances in New York, it seems that he did not do something which he did today and which I found wonderful. After he finished playing, he simply came to the audience, sat on one of his speakers (incidentally the one I was sitting next to) grabbed the mike, and decided to have a chat with the audients! He began by telling some stories about his experiences as a Happy or Travelling Gigster in Philadelphia, about getting locked out of his hotel room with no trousers and having to go down to the lobby.. about the distress call of the Crims.. (oh my god I wish that could have been captured on tape! We all know what are Fripp's thougths on that, though..) After completing his stories, he opened himself for questioning from the audience, stating that any question or comment that makes his life better or more pleasant would be rewarded by a pin that said "I've been Frippnotized!" (Damn, I wanted that pin...) The winner of the evening was a lady who simply asked, "may I have a pin?". Fripp readily gave her the pin, remarking, to the audience's delight, "a simple, direct question deserves a simple, direct answer!" Also very hilarious was the instance where some guy asked, "Like, are you like, planning something special, for, you know, the year 2000, like with David Bowie, or, like Brian Eno, or David Byrne, or Iggy Pop..." Before the guy finished, Fripp just said "No!" End of topic... A great musical moment... I asked him about his expectations of the audients, to which he replied a long, wonderful and philosophical answer that I'm still trying to figure out... Overall, It was the most fun I've had in a long time. If he plays near you, don't miss him! (and remember to phrase your questions correctly!) Victor Herrera Franklin & Marshall College Lancaster, PA "Nunca falta alguien que sobre" -- Susanita ------------------------------ End of Elephant-Talk Digest #557 ********************************