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 #590 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 590 Thursday, 27 May 1999 Today's Topics: NEWS: California Guitar Trio Spring Tour with Tony Geballe! NEWS: DGM Web has moved sampling and covering krimso Re: King Crimson books - Fripp Diary Re: FAQ VROOOM Bad News! Follow-up Regarding "VROOOM" as car sound Re: Ralph Records, and bringing it around to KC Re: G3 response The future, Conan? Re: The future, Conan? He's only talk... Re: Contemplating 1972 Re: Michael Flatley Whitworth music search results bruford's fave jazz drummers Re: Bruford's Crimson attraction What really attracted Bruford to Crimson? Where they stood & thing on a stand Fripp on an Audi commercial? Robert Fripp's Review of... KC First US Concert... 29 Oct 1969 Re: ProjeKct guitars : who's who NEW UK LIVE CD UK LIVE 1978 DELETED In The Wake of Poseidon tab CDs for sale Re: larks'I Fripp on Monkey Business? Residents/Crimson: The mask solution. Adrian at Martyrs Onomatopeia madness Live Performances from the album "Exposure" Great Russian group tours the States J. P.'s Mellotron Page back up! EH effects shameless sale plug The other shoe finally dropped KC/P tracks dictionary/songbook Next Crimson tour Bruford on Steve Howe Albums and Earthworks review, May 15 dts next? ------------------ 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: Sat, 22 May 1999 13:50:15 -0600 From: Jon Lybrook Subject: NEWS: California Guitar Trio Spring Tour with Tony Geballe! Greetings! The California Guitar Trio are currently on the road with their Spring Tour. Their newest album is entitled "Opening act: Live on tour with King Crimson". These CDs will be available only at their shows until May 25th, when they will be available through DGM mail order at http://www.discipline.co.uk/. If you haven't seen the CGT live, and are lucky enough to live somewhere close to where they are playing, please get out there and show them your support. They are unforgettable to see in person, and what's more, the shows at Borders Books are FREE!!! The schedule below is also posted on the website: http://www.cgtrio.com and is updated regularly. Live pieces can also be accessed from the website in RealAudio, as well as archived articles, bios, photos of the band, contact information, and more! Enjoy, and hope to see you out there! Jon CGTweb ~^*~^*~^*^*^~*~^*~^^*~~^*~^*^~*~^*~^*^*^^~*~^*~^*~^* Date Day City Time & Location May 20 Thur Travel Day SLC to Los Angeles May 21 Fri Los Angeles, CA 8:00pm, Genghis Cohen, 740 N. Fairfax Ave, Call: (310) 578-5591 May 22 Sat Los Angeles, CA 8:00pm, The Gig, 7302 Melrose Ave. Call: (323) 936-4440 May 23 Sun Thousand Oaks, CA 7 pm - Borders Books, 125 W. Thousand Oaks Blvd, Call: (805) 497-8159 May 24 Mon Santa Barbara, CA 7:30 pm, Borders Books, 900 State St. Call: (805) 899-3668 May 25 Tue Palo Alto, CA 7:00 pm, Borders Books, 456 Univ. Ave. Call: (650) 326-3670 May 26 Wed Santa Cruz, CA TWO SHOWS: 5:00 pm and 8:30 pm, Veterans Memorial Bldg., 846 Front St., Tickets avail. @ door. May 27 Thur Travel Day San Francisco to Seattle May 28 Fri Seattle, WA 10:00 am, KUOW - Live Radio Show May 29 Sat Seattle, WA 8:00 pm, On the Boards, 100 West Roy St. Opening Act: The Seattle Guitar Circle! Call: 206-217-9888. May 30 Wed Port Angeles, WA Juan de Fuca Festival, 2:30pm Masons Stage, 6:30pm Workshops Stage, 8:45pm First Federal Stage May 31 Mon Travel Seattle to Detroit June 1 Tue Ann Arbor, MI Lunchtime, Borders HQ! June 1 Tue Ann Arbor, MI 7:00 pm, Borders Books, 3527 Washtenaw Ave, Phone: (734) 677-6948 June 2 Wed Birmingham, MI 12:00 pm, Borders Books, 34300 Woodward, Call: (248) 203-0005 June 2 Wed Detroit, MI 2:30 pm, WDET Live Radio Show June 2 Wed Pontiac, MI 8:00 pm, 7th House - Call Ticketmaster: (248) 645-6666 June 3 Thur Cleveland, OH 8:00 pm, Borders Books, 2101 Richmond Road, Call: (216) 292-2660 June 4 Fri Columbus, OH 12:00 Noon, Borders Books, 4545 Kenny Road, Call: (614) 451-2292 June 4 Fri Columbus, OH 8:00 pm, Columbus Music Hall, Corner of Parsons and Oak St., $12 at the door, $10 in advance. Call: (614) 447-8265. June 5 Sat Cincinnati, OH 5:00 pm, Borders Books, Princeton Plaza Shopping Center, 11711 Princeton Pike, Call: (513) 671-5852 June 6 Sun Indianapolis, IN 11:30 am, Borders Books, 8675 River Crossing Blvd., Call: (317) 574-1775 June 6 Sun Indianapolis, IN 6:00 pm, Guitar Institute of Indianapolis, 911 Mass Ave., Ste 100, Call: (317) 955-1075 June 7 Mon Chicago, IL 7:00 pm, Borders Books, 49 S. Waukegan Road June 8 Tue Chicago, IL 12:30 pm, Chicago Borders Books, 830 N. Michigan, Call: (312) 573-0564 June 8 Tue Oak Brook, IL 7:00 pm, Chicago Area Borders Books, 1500 16th St., Ste D, Call: (630) 574-0800 June 9 Wed Madison, WI 7:00 pm, Borders Books, 2173 Zeier Rd., Call: (608) 240-0080 June 10 Thur Travel Day Milwaukee to SLC June 11 Fri Salt Lake City, UT Tower Theater, 900 E. 900 South, Call: (801) 297-4040 June 12 Sat Salt Lake City, UT Tower Theater, 900 E. 900 South, Call: (801) 297-4040 June 13 Sun Salt Lake City, UT Tower Theater, 900 E. 900 South, Call: (801) 297-4040 June 14 Mon Fly home ~*^~^*~^*~^*^~*^*^~*^*~^*~^*^~ ------------------------------ Date: Wed, 26 May 1999 18:03:50 EDT From: DanKirkd at aol dot com Subject: NEWS: DGM Web has moved Just a quick note to say that DGM's web site has moved to a new domain name: www.disciplineglobalmobile.com If you have any bookmarks or links pointing to the old site please update them to point to the new one. Note: pay special attention to cgi-bin links. These have changed significantly. BTW, the new site will secure credit card transactions. Cheers, Dan DGM Web ------------------------------ Date: Sun, 16 May 1999 00:43:15 PDT From: "john knight" Subject: sampling and covering krimso Does anybody out there know of any group sampling King Crimson? Unfortunately, it is inevitable especially in the 1990's popular music where it is trendy to be as unoriginal as possible. How else can the Puff Daddy phenomenon be explained or the millions of tribute albums? So far, I do not know of any sampling of King Crimson. But I do know that Gile, Giles, and Fripp have been sampled. Ironically, it took place the very same week that the mini-album Vrooom was recorded. The band was Faust performing at Lounge Axe in Chicago. The Faust I wanted to see consisted of eight Germans going completely nuts on stage. Instead, I got only two of the original members and a back- up tape. The parts they sampled were Fripp "singing" (if you could call it that) "Rodney,your teas ready!" and "I know a man named George!" which were looped over and over again. The singer/bassist/trumpeter Jean Peron even actually sang along with the George bit while painting a wall purple. I wonder whose bright idea it was for Faust to become a hip sampling band that year and the next. I wonder, rhetorically, to whom they sold their soul . Luckily, Faust was rejoined by another founding member and they got good again. In tribute news, a couple months ago, I was given a free ticket to Banyan at the House of Blues in Chicago. I went there with equal parts trepidation and anticipation. Various rumors circulated. On one hand, I heard good rumors that Flea(a big king crimson fan), Buckethead(see Trey Gunn's site for more info), Mike Watt, or Nels Kline might show up. On the other hand I heard DJ's and rappers might show up. I remembered Rolling Stone Magazine had an article about Banyan being considered great because they sampled Stravinsky first. But it turned out that none of the rumors were true. The band Banyan consisted of leader Steve Perkins(of Janes Addiction,Porno for Pyros), Rob Wasserman(of Grateful Dead fame), and lesser known musicians B. Green, Clint Wagner, Willy Waldman, Dave Aron ,and Ross Rice. The only sampling was loops of two Beatles songs Eleanor Rigby(very important for Adrian Belew) and Tommorow Never Knows(which is already made of loops!). Of relevence to Krimso fans, Wasserman played an electric upright bass which seemed to be a precursor to Tony Levin's Ned bass. He also used some delay. The guitar player Clint Wagner's style was very 1973, which is a compliment. The concert was surprisingly good. There was lots of improvization. The very last song they performed was 21st Schizoid Man! It was surreal to witness girls in their early twenties dance to a King Crimson song, especially in the era of punk rock fundamentalism where mentioning King Crimson in a punk rock concert is like eating pork rinds in a synagogue! Remember that Jane's Addiction were associated with Punk Rock. But I digress. Of course, Banyan left out the complicated bit of the song, but they left in the chaos ending. Throughout the course of the song there was a guitar solo, bass solo,and sax solo. The saxophonist was B. Green who was a pretty normal saxophone player, but for Schizoid Man he pulled out all the stops. So it was a pretty exciting version of King Crimson's song, but not as good as Voivod's on their new album. As we approach the new century, I think we shall be hearing a lot of new interpretations of Schizoid Man, but not from Projeckt Five(etc). Forget about Prince's 1999. ------------------------------ Date: Sun, 16 May 1999 04:01:28 EDT From: ForSuziQ at aol dot com Subject: Re: King Crimson books - Fripp Diary Sounds like a nice idea! Okay, I'd bite..... "Seconded" ------------------------------ Date: Sun, 16 May 1999 08:00:22 -0600 From: Steve Subject: Re: FAQ VROOOM ET'ers: Although I e-mailed Ugo Ducharme a private reply to his post about the Q/A about VROOOM in the ET FAQ, I thought I'd share my thoughts with all of you, as they concern the creation of ET FAQ's in general. If I'm driving a nail with a sledge-hammer, my apologies. The Q/A being referenced is IV.17. > Date: Wed, 12 May 1999 10:53:15 -0400 > From: "Ugo Ducharme" > Subject: 17.What does 'VROOOM' stand for? > > I read the answers to this question in your FAQ and I came to the > conclusion that the mysitique around King Crimson is so big for some > people that they can't see the meanning of things, thinking propably > that the message can't be so evident. > > Fist of all, why should VROOOM should be an acronym? Because of the > capital letter? I don't think so. Normally, in the English language at least, that is exactly what it signifies. Also, as the FAQ states: "Here are some possibilities from ET readers. 1.Virtual Object Oriented Memory Manager 2.Virtual Reality Room 3.Virtual Reality Object Oriented Music " So, these acronyms existed before THRAK was ever recorded. > I believe that VROOOM simply refer the > the sound of a car! I beleive this is also a possibility. That is why, later in the question, I stated: "Some non-acronymal suggestions include: (snip) 3.VROOOM conjures up the sound of an engine being revved up, very much in line with the harder-edged sound of the double-trio. " > If it's in capital propably indicate that the car is > making loud noises. If you look the the insert of the THRAK album, > you'll notice that all pictures refer to a car accident (Metalic pipe, a > car, broken bones, broken glass, being hit etc.) Maybe the emotions > expressed in theses songs are about a car accident. Since I experienced > a car accident when I was younger, listenig to the music and looking the > pictures really make me fell that part of this album is about car > accident. Even the onomatopia you refer to (THRAK, Crash, Wallop, etc.). > proves me right. > > Ugo Ducharme > > ------------------------------ > The FAQ also refers to the pictures on the CD insert, although the ultimate conclusion Ugo has reached may be different than what other listeners may conclude. The idea that 'THRAK' could actually be a companion piece to David Cronenberg's 1997 film 'Crash' is an idea I never considered before. Try to understand that a lot of the FAQ must be conjecture, due to the fact that the persons who really know the answers to these questions are busy touring, recording and living lives. I do, however, report the consensus of what appears in ET from it's readers as to the answers of certains FAQ's, until reliable arguments or expert evidence persuades me otherwise. Thanks, Steve the FAQmaster ------------------------------ Date: Sun, 16 May 1999 10:15:01 -0400 From: Gary Davis Subject: Bad News! Here's some news that's bound to depress some of you. The impending Japanese remasters of the King Crimson catalog in the miniaturized LP sleeves after having been delayed several times have been cancelled! I have no idea why this has happened. Perhaps it interfered with Fripp's own remastering plans. He's certainly said before that he wants to remaster these albums again some time. Gary ************************************************************** Gary Davis The Artist Shop The Other Road http://www.artist-shop.com artshop at artist-shop dot com phone: 330-929-2056 fax:330-945-4923 SUPPORT THE INDEPENDENT ARTIST!!! ************************************************************** Check out the latest Artist Shop newsletter at http://www.artist-shop.com/news.htm ------------------------------ Date: Sun, 16 May 1999 11:42:30 -0400 From: "Josh Chasin" Subject: Follow-up Regarding "VROOOM" as car sound In the recent edition of ET, Ugo Ducharme noted that: >I believe that VROOOM simply refer the >the sound of a car! If it's in capital propably indicate that the car is >making loud noises. If you look the the insert of the THRAK album, >you'll notice that all pictures refer to a car accident This triggered for me the obvious follow-up thought-- that the sound that said "VROOOM!"-going car would make upon engaging in a massive accident would almost certainly be be "THRAK!!" Which explains why VROOOM comes out before THRAK-- the former, "here we are just zipping along", the latter the complete "wreck." And it sure makes you contemplate the meaning of B'Boom, huh? Sign me, A first-time US poster ------------------------------ Date: Sun, 16 May 1999 11:56:27 -0400 (EDT) From: Joe Hartley Subject: Re: Ralph Records, and bringing it around to KC max imu wrote: > Frith had a 5 record deal with Ralph but only delivered 3 before the > label was sold off. He worked with them prior to Snakefinger's death > and is credited on Subterranean Modern, a Various Artists sampler on > Ralph circa 1981 I consider myself privileged to have seen Snakefinger back around '81 or so. He broke new ground with the guitar, and nobody's really been able to follow him down that particular path. > Penn and Teller did a funny act as part of the shared-bill 13th > Anniversary tour where they claimed they would unmask a Resident if the > always Speechless Teller would speak, or at least sing a Residents > song. ... Not many folks know > that Penn started off doing improvised music and comedy theatrics in > Philadelphia in the 70s. I have a copy of the Ralph Records 10th Anniversary Radio Special, released in '82. The premise of this show is that a "nationally known entertainer and announcer" was locked into room 312 of the Bentley Motor Inn in San Francisco (right across the street from Ralph headquarters). He spent the next 6 days alone in the motel room with no TV or radio. Each day he received a new package of records from Ralph. His job was to listen to the records and comment into a microphone installed in the room. If you guessed this announcer was Penn Jillette, give yourself a hand. This is a great show, starting with an earnest DJ/announcer wondering what he was in for, and ending with him a week later musing that he'll never hear music the same way again, and that he'll have to throw away his current record collection, and can he keep the Ralph records, or will he have to stop at a music store on the way home and buy all he can find? There are some funny photos of a real geeky-looking Penn on the cover; Check 'em out at this website: http://www.residents.com/collect/ralph.html#ralph10th To bring it back to KC, back in the early '80s I had access to a computer in my father's office (a Xerox 820-II CPM machine!) with a 300-baud acoustic coupler. My first online experience was with the Ralph Records BBS (named Bill Johnson, or something innocuous like that. I can't remember not find a reference to it; if you know the name, please let me know!) I saw KC back in '84, and posted a review to this BBS. A tenuous connection, I know, but I didn't want to be totally off-topic. ====================================================================== Joe Hartley - jh at brainiac dot com - brainiac services, inc 12 Emma G Lane, Narragansett, RI : 02827 - vox 401.782.9042 Without deviation from the norm, "progress" is not possible. - FZappa ------------------------------ Date: Sun, 16 May 1999 09:01:11 -0700 (PDT) From: John Relph Subject: Re: G3 response umrk at home dot com wrote: > >Fripp played only soundscapes by himself to open the shows. However, >for a portion of his set Mike Keneally came out and joined him. This was >fabulous as Keneally is truly an amazing guitarist. I highly recommend >picking up any Keneally albums. Sluggo! is a good place to start. I distinctly remember Robert Fripp coming out during one of the encores to play a blues number with the entire band, which that night included Steve Vai with Mike Keneally, Joe Satriani, and Kenny Wayne Shepard (sp?). This was at the Concord Pavilion in California. -- John ------------------------------ Date: Sun, 16 May 1999 16:21:00 -0800 From: Eb Subject: The future, Conan? >From: flaherty michael w >Subject: ET's Promising Future > >A forum that emphasizes quality over quantity >should be applauded for the rarity that it is. By "quality," I assume you mean extensive discussions of "dream KC lineups," banal requests for product swaps and questions like, "Hey, has anyone here heard the Giles, Giles & Fripp album??" If the issue was purely quantity, I wouldn't bother speaking up. Meanwhile, Fripp has posted in his diary that the guestbook posts are becoming "increasingly interesting." Yup, true. And correspondingly.... Eb, still riding the sinking ship for now np: "Nuggets" box ------------------------------ Date: Mon, 17 May 1999 01:46:54 +0100 From: Toby Howard Subject: Re: The future, Conan? Mr (or Ms?) Eb, unfortunately I don't know what your real name is. Despite the "levelling" benefits of "anonymised" e-conversation, I've always preferred using real names. I guess it's my age. Never mind, though. I tell you what, I'll be "T#". Hey it's exciting isn't it? We can say what we like and noone will ever know!!!! :-) Eb> >From: flaherty michael w Eb> >Subject: ET's Promising Future Eb> > Eb> >A forum that emphasizes quality over quantity Eb> >should be applauded for the rarity that it is. Eb> Eb> By "quality," I assume you mean extensive discussions of "dream KC Eb> lineups," banal requests for product swaps and questions like, "Hey, has Eb> anyone here heard the Giles, Giles & Fripp album??" If the issue was purely Eb> quantity, I wouldn't bother speaking up. Eb> Eb> Meanwhile, Fripp has posted in his diary that the guestbook posts are Eb> becoming "increasingly interesting." Yup, true. And correspondingly.... Eb> Eb> Eb, still riding the sinking ship for now Sigh. Well, I would like to tell you that ET is not a sinking ship -- if that's what I understand you to refer to. Far from it. If you don't like ET much, fine! Don't read it. Maybe consider starting your own, alternative, newsletter. I'm sure it would be vibrant and on-topic and exciting and never "a pain in the arse" as we Britsh are wont to say. But please direct your negativity elsewhere. It's hard work keeping ET going, as Dan and Mike will, I'm sure, confirm. As far as moderation is concerned, there's about 70K of text a week to read and filter. About 45K makes it to ET. ET is nothing much to shout about, to worry about, or get hung about. It's just a newsletter. I started it a few years ago to discuss KC and related topics, and to share news. But never to discuss itself. I never sought Robert Fripp's approval, or anything like that. I still don't. ET is just a fat-chewing enthusiasts' forum. It's like a barbecue you go to at someone's house: some of the food is crap, some of it's nice, and you meet the neighbours: you get on with some, tolerate others, and get to meet the inevitable assholes too. Unlike most barbecues, though, ET is moderated. Maybe one day I'll post (probably anonymised) the stuff that I've filtered out... but maybe not. It makes depressing and very tedious reading. There's a lot of people out there I'd rather not live next door to. But many I'd *love to*! Cheers T# ------------------------------ Date: Sun, 16 May 1999 20:57:34 PDT From: "Nomad Stem" Subject: He's only talk... Back in ET #587 Eb wrote: "Actually, ET is probably lose *me* with this one." Well it would seem Eb is still with us folks (I'm sure Mike D. can confirm that he has yet to unsubscribe). From my vantage point Eb will lose any credibility he's had unless he follows through with his umpteenth threat to unsubscribe. The quality of ET would only improve IMO. Nomad ------------------------------ Date: Mon, 17 May 1999 02:23:54 -0400 (EDT) From: "Weissenburger - Jeremy S." Subject: Re: Contemplating 1972 Russell Whitworth wrote: >I recently listened to three recordings from 1972 or thereabouts, in >close proximity: > >1. Collectors Club No.2 - Fripp, Collins, Burrell & Wallace for the most >part struggling with something that just isn't coming together. [snip] >2. Yessongs. Needs little introduction here. A very creative "prog >rock" band at the height of their collective powers. Sadly it was >mostly downhill all the way from here for Yes (punctuated by occasional >successes), but at the time they were surely the finest in this genre. > >3. Collectors Club No.3 - Fripp, Bruford, Wetton, Cross & Muir. A bit >rough at the edges, but here the brilliance and creativity absolutely >shine through. Wonderful hints of greatness to come over the next four >studio albums. > >Listening to this lot, a couple of questions arise: > >1. How on earth did Fripp manage to turn this burnt out wreck into such >a reborn phoenix, in just a few short months? Well, Wetton had already been asked to join the 71/72 line-up, but felt that he was there to help Fripp get the sound he wanted. Fripp had heard of Muir about this time as well. The bottom line was, the 72 Boz line-up just wasn't working. It wasn't going where Fripp wanted the band to go (from his notes in CC 2 and the like). So, instead of holding onto the band, it seemed to be much easier to start with a clean slate and try all over again. Sometimes that happens in life; sell the car and start over rather than invest more time and money into it. >2. What really attracted Bruford to Crimson? He must have been familiar >with their early work through joint gigs with Yes, but was he aware of >the more recent material? What would cause someone to leave such a huge >success story, to join something that gave every appearance of being on >its last legs? One word: improvisation. Yes was and probably always will be a band that has most of the music written down to the exact note. Bruford has stated on many interviews that he was tired of the imposing structure in Yes. They'd argue for a while on whether the next note of a song would be F or F#, for goodness sakes! Yes, Crimso had fallen apart, but Fripp seemed to know what he wanted in his next incarnation: a band that could handle improvisation as easily as they could a structured song. With people like Jamie Muir in the band, that held a huge attraction for Bruford. >Compare "Yessongs" with "Earthworks"... which band would >you rather join? I assume you meant to say _Islands_, not _Earthworks_, but anyway....... I don't think that Bruford knew of the current state of the band; but most people knew of the 1969 band. In part, he was hoping to get in on a band that valued improvisation over structure. He's been pretty straight-forward about why he left Yes in most interviews that I've read. --Jeremy ------------------------------ Date: Mon, 17 May 1999 09:49:28 IST From: "chris mcgarel" Subject: Re: Michael Flatley >>>ET offers us something that DGM never will: a forum for >>>discussion... >>>A forum that emphasizes quality over quantity should >>>be applauded for >>>the rarity that it is. I heartily agree Mr Flatley. And I'm thrilled that such a terpsichorean talent as yourself should take time out from your busy training schedule to take an interest in KC. Maybe we could see a joint tour. I would love to witness the site of the new double-duo format complemented by an Irish head-band-wearing dervish. I have always felt that the likes of Neurotica and Cage are somewhat incomplete without some turbo-charged Irish dancing. ...oh sorry, Flaherty! I do apologise but it's Monday morning. I'm sure you understand my confusion. On the subject of all things Irish, I have just moved to Dublin and would love to correspond with fellow Dubliners with a taste for exotic music. What are the chances of a DGM-related act paying a concert visit to Ireland? If such acts rarely play the UK then surely they will never have the chance to savour the appreciation of an Irish audience. An Earthworks or Europa String Choir would go down an absolute storm. Apologies once again Michael, Chris McGarel ------------------------------ Date: Mon, 17 May 1999 09:43:25 -0600 From: John Smallwood Subject: Whitworth music search results Dear ET, Recently Russell Whitworth made this posting: >1. Collectors Club No.2 - Fripp, Collins, Burrell & Wallace for the most >part struggling with something that just isn't coming together....Remembering Adrian Belew's >challenge a couple of years back along the lines of "shut up unless you >think you could do better", this is the only Crimson line-up that to >which my answer would be "I'm not sure, but I'd be willing to give it a >try!" The muscians Mr. Whitworth wants to challenge created this music. It would not exist without them. Funny, I've searched the entire internet and cannot find any recordings by Russell Whitworth. I suppose it's a hazard of the entertainment business that someone caught in a 1972 timewarp, himself safe from criticism, can image himself on the stage with King Crimson, and then actually send this fantasy over the net to the band's core audience. I would urge Mr. Whitworth to ask his wife to keep the computer keyboard safe and well hidden. John Smallwood ------------------------------ Date: Mon, 17 May 1999 11:49:53 -0400 From: "Shore, Michael" Subject: bruford's fave jazz drummers In the May 16th ET "dumela at tidalwave dot com" comments on a Bill Bruford Earthworks shiow and asks "has anyone ever asked him what his favorite jazz drummers are?" Sure they have: Bill's biggest faves, from what I know, are Max Roach (from whom he says he learned restraint and elegance) and Joe Morello (from whom he once said he learned to handle odd meters, thohgh IMHO there is of course NOBODY who handles odd meters like Mr. Bill!), and in the distant past he's often mentioned another veteran jazz drummer named Charli Persip (who used to lead a big band called "Superband" in NYC during the 80s) and that he started out playing along to old Riverside jazz LPs from the late 50s/early 60s (Thelonious Monk among many others used to record for Riverside). Speaking with the astoundingly accomodating Mr. B. after Friday's Knitting Factory NYC early show (I agree with "Roy Miles," it was absolutely SMOKIN' -- but Roy the BLUE tune Earthworks did was "Original Sin," not "Etude Revisited," at least that's how Bill announced it), I told Bill how the way "Bridge of Inhibition" had been played, with Patrick Clahar on soprano, gave it a strong feeling of Jewish klezmer music I'd never noticed before. Bill agreed, and I then asked if he knew the band Masada, a superb jazz quartet that plays the Knitting Factory all the time, and whose music sounds like the classic Ornette Coleman early 60s quartet doing klezmer. "Are you kidding?" said Bill, "Joey Baron, one of my favorites!" referring to Masada's brilliant drummer. Bill said he's recently bought Masada's latest album, "Tet," so if anyone out there wants to enjoy the kind of current jazz that Mr. Bruford digs, check it out (or any other Masada CD you can find, they all sound similar, and similarly brilliant). ------------------------------ Date: 17 May 99 12:59:20 EDT From: James Dusewicz Subject: Re: Bruford's Crimson attraction As I understand it, Bill had gone and done just about all he could do with Yes at the time of CLOSE TO THE EDGE. Yes presented no challenge to him or the development of his percussive abilities. Fripp contacted him and offered him the Crimson drum chair. That version of KC came together quite by sycronicity, as I recall. Fripp saw or ran into Wetton, Muir, Cross, and Bruford all in a matter of days. jim campaigner at usa dot net James Dusewicz ------------------------------ Date: Mon, 17 May 1999 13:48:43 -0400 From: jmooney at bigyellow dot com Subject: What really attracted Bruford to Crimson? >2. What really attracted Bruford to Crimson? He must have been familiar >with their early work through joint gigs with Yes, but was he aware of >he more recent material? What would cause someone to leave such a huge >success story, to join something that gave every appearance of being on >its last legs? In interviews, Bruford's said that after "Close to the Edge", he didn't want to participate in "Son of Close to the Edge" and chose to depart (I wonder how he feels about "Tales from Topographics Oceans" and "Relayer" ? - anyway...). Bruford has stated that a musician must expand his musical pallette in order to grow as a musician and one way for a musician to grow is to play with different people. I don't have the histories of the two bands in front of me, but Fripp would have disbanded the '72 edition of Crimso at this point and been in the process of recruiting new bandmates, wouldn't he ? Given Bruford's love of things jazz and Fripp's desire to explore group improvisation, that the two would play together was almost inevitable. >Compare "Yessongs" with "Earthworks"... which band would >you rather join? The one that spoke to my soul. ------------------------------ Date: Tue, 18 May 1999 01:55:09 +0100 From: John Peacock Subject: Where they stood & thing on a stand > For P1 I'm guessing Gunn on the left and Fripp on the right ... perhaps someone who was at the Jazz > Cafe can provide the definitive answer? Fripp on the right, Levin at the left, Gunn in the middle, as you say. Bruford behind them , but I imagine you guessed that. Like the 80s line-up with Gunn instead of Belew. Oh, and the "thing on a stand": I remember Belew wodging the knobs around and making "flying saucer" type noises with it, in a manner I later came to associate with Digital Delay pedals, but perhaps I was hallucinating. By 84, I think he'd had all his Electro-Harmonix gizmos rack-mounted out of sight, according to some Guitar Player interview or other. J ------------------------------ Date: Mon, 17 May 1999 22:48:37 EDT From: WFMUTV at aol dot com Subject: Fripp on an Audi commercial? Is that Sounscapes I hear on an Audi commercial (seen in the U.S.) or is it a Fripp-off? M.R. ------------------------------ Date: Mon, 17 May 1999 23:36:22 -0400 From: Glenn Connell Subject: Robert Fripp's Review of... I saw KC at Goddard College in late October or early November of 1969 at Goddard College in Plainfield Vermont... I also remember reading a review of that ill fated concert written by Robert Fripp a couple of years ago, I thought it was here on ET... does this sound familiar? Do you know where this review is now? Thanks, Glenn Connell ------------------------------ Date: Tue, 18 May 1999 03:29:18 -0400 From: Glenn Connell Subject: KC First US Concert... 29 Oct 1969 A while back I remember reading Robert Fripp's review of the *audience* at Goddard College at their first US gig... I was there and have added some comments as an audience member... >Robert Fripp wrote... >"OCTOBER 29 >Goddard College, Vermont. King Crimson's first US gig to an audience with a >high proportion tripping and expecting a happy soul band. We began with Actually the first part is correct... a high proportion tripping... much more than half the folks were tripping on acid and mescaline... But I think people expected something more like the Stones and the Dead... no one had ever heard of KC before and they had been billed, or promoted, as the Rolling Stones favorite band... (besides themselves, of course...) I think some people sort of expected an R&B version of the Dead... Anyway, I know, the audience was less than 100... and we were mostly blown away by 21st Century Schizoid Man... whatever came after that sort of dragged by comparison... I think the energy of 21st Cent. had set us all up for something powerful... and then we were drifting (as a group, you know...) One guy, I know who it was and forget his name at the moment... one guy said, loud enough for everyone to hear.. "Let's Boogie"... that was it. I certainly didn't want to boogie (dance) nor did most of the folks I was with... but that one guy did... Aside: We pretty much tolerated and respected everyone's opinions and desires, so long as they didn't conflict with our rights and freedoms... Robert's concentration was broken... it had been quiet... he looked at the guy who had shouted, or spoken loudly... it was a small room... stepped off his stool, packed up his guitar and left. The rest of them followed suit. We were in shock. Completely stunned. No one had ever seen a band walk off for what I would have (and still do) consider a pretty minor piece of audience discourtesy... They never came back. We waited for maybe ten minutes, then everyone started drifting off to other places... >Robert Fripp continued... >"Schizoid Man". The audience never recovered from the first shock, their >condition being delicate anyway. I had the impression of the crowd being >squashed. - Robert Fripp." He's right about Schizoid Man, but the rest is *his* impression only and not mine or the others I was with... I think it was the energy output, then the withdrawal that let folks down.... around that time we'd had Rassan Roland Kirk there... he played for (what certainly seemed like) hours and hours, getting higher and releasing more energy, not frenetic energy, a more spiritual energy... by the minute and we all rose with him... he carried us... So I'd say KC and Goddard just weren't in synch that night... and once Robert had lost his concentration, that was the end of the show... Cheers to all... Glenn Connell ------------------------------ Date: Tue, 18 May 1999 18:38:07 +0800 From: Brady Drum Company / Chris Brady & Craftsmen Subject: Re: ProjeKct guitars : who's who Hidey-ho folks and folkesses, I'm of the opinion after listening to the P1 track on Sometimes God Smiles that Robert is on the left and Trey is on the right. The track opens with bass and drums, then these heavy metal meets Bitches Brew type comping chords come in panned right, which I think is almost certainly Trey's work. Can't speak for the rest of the disc as I have not heard it. "Never critisise a man before you walk a mile in his shoes........... because then he won't hear you, and you have his shoes! Shane Brady ------------------------------ Date: Wed, 19 May 1999 06:03:53 -0700 (PDT) From: Pat Schroeder Subject: NEW UK LIVE CD There is a new live UK cd on the market. It was recorded in Boston(1978) and record label is Renaissance Records. Bruford fans may want to lend an ear to this one. He manages to trainwreck on every tune. I have seen BB live many times and have never heard him meltdown like he does on this. The rest of the band put on a good performance so the disc is worth getting. EG licensed this recording. I wonder if anyone other than EG will see any royalties from this? Probably right around never! Pat S. PS WEB www.geocities.com/Area51/Dreamworld/3290 _____________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com ------------------------------ Date: Wed, 19 May 1999 10:27:39 -0700 (PDT) From: Pat Schroeder Subject: UK LIVE 1978 DELETED The new UK live Boston 1978 has been deleted. Eddie Jobson and John Wetton threatened legal action so the disc has been pulled Renaissance Records. Only 1000 were printed. Pat S. _____________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com ------------------------------ Date: Wed, 19 May 1999 17:21:57 -0600 From: Victor Herrera Subject: In The Wake of Poseidon tab Here are the chords to In the Wake of Poseidon. There's a lot more going on, especially in the verses, but this is a good start. Intro: C Em Am Bm C Bm Am B Em Bm Plato's spawn cold ivyed eyes Am B7 Snare truth in bone and globe. Em Bm Harlequins coin pointless games Am B7 Sneer jokes in parrot's robe. Em Bm Two women weep, Dame Scarlet Screen Am B7 Sheds sudden theatre rain, Em D Whilst dark in dream the Midnight Queen Am Em Knows every human pain. D Em In air, fire, earth and water D Em World on the scales. D Em Air, fire, earth and water Bm G A Balance of change Bm G A World on the scales B On the scales. Em Bm Bishop's kings spin judgement's blade Am B7 Scratch "Faith" on nameless graves. Em Bm Harvest hags Hoard ash and sand Am B7 Rack rope and chain for slaves Em Bm Who fireside fear fermented words Am B7 Then rear to spoil the feast; Em D Whilst in the aisle the mad man smiles Am Em To him it matters least. Instrumental section: D C B Em D C B D Em D Em D Em Bm G A Bm G A B D Em D Em D Em Bm G A Bm G A B Em Bm Heroes hands drain stones for blood Am B7 To whet the scaling knife Em Bm Magi blind with visions light Am B7 Net death in dread of life Em Bm Their children kneel in Jesus till Am B7 They learn the price of nails; Em D Whilst all around our mother earth Am Em Waits balanced on the scales. Outro: C Em Am Bm over and over again Victor Herrera San Jose, Costa Rica Franklin & Marshall College Lancaster, Pennsylvania vm_herrera at acad dot fandm dot edu ------------------------------ Date: Thu, 20 May 1999 19:18:54 -0300 From: "Patricia_Castano" Subject: CDs for sale Hi Eters ! I have some Cds to trade or sell: PROMETHEUS: S/T (Feat. Steve Ball w/ Pat Mastelotto - "Yes" oriented neoprog band - Made in USA) RAIN TREE CROW: S/T (Sylvian, Karn, Jansen , Barbieri - Made in Deutschland) IRMIN SCHMIDT (CAN member ): Musk at Dusk / Impossible hollidays (2 on 1 cd) (Sounds like later 70's CAN - Made in Austria) SIEGES EVEN: Steps (German neoprog band in the Crimson vein with stunning instrumentals - Made in Germany) AMON DUUL 2: Best of 1969 - 1974 (Made in USA) JOHN CALE: Academy in Peril (Made in Germany) JOHN CALE: Paris S'Eville (Made in Austria) JOHN CALE / BOB NEUWIRTH: Last day on earth (Made in USA) Send your offer e-mailing me privately to pcgeonline at house dot com dot ar. Thank you. Gustavo Enriquez Buenos Aires - Argentina Contact pcgeonline at houseware dot com dot ar ------------------------------ Date: Thu, 20 May 1999 19:13:37 -0700 (PDT) From: Edgar Kausel Subject: Re: larks'I On ET 588 LBriggs, concerning Larks I, said: >"I've noticed a bit of dialog below the music toward >the end of the song. > Has anybody figured out what this is? It sounds like >an audio clip from a movie or something. Listening to >the Definitive Edition with the volume up high, >what I've been able to pick out is: > "...used to grow over there. I'm going to pick some > and take then home. Did I ever show you..." Thanx. I never knew what it said, but I've always found that dialog gives an extra dramatic touch to that great finale. Maybe it was a Muir idea. _____________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com ------------------------------ Date: Thu, 20 May 1999 19:35:23 -0700 (PDT) From: Edgar Kausel Subject: Fripp on Monkey Business? In the Wetton-Palmer James CD "Monkey Business", there's a song called "(false start)" with no credits. That guitar... is so frippish... and then there's a voice saying something like: "Provided you all play on the... on those other than purely thinking about the music, then you're alright. As soon as you only think about what you're doing, then you're gonna have trouble.". And after "Book of Saturday", it says: "Ethic ballads are 'de premium' nowadays, it's very easy to get the ... like the hard playing thing together as compared to straight forward, but good songs, good tunes, I don't think I'd ever have too many of them." That voice... is so familiar... That's Fripp! _____________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com ------------------------------ Date: Fri, 21 May 1999 15:50:29 -0400 From: Manuel Fernandez Subject: Residents/Crimson: The mask solution. What a great idea! Hide the identities of the band members behind masks. Audiences wouldn't focus so much on personality and more on the music, plus if a member is replaced, only those musically knowledgeable (and sober) would notice. This could work to an extent for King Crimson in future member shuffling circumstances. What a surprise it would be to find out that the impressive drumming came from some utterly unknown musician. Of course, it wouldn't work with the 90's KC. Gunn, Fripp and Belew would be easily recognizable, but for future versions it would. Another approach: Put screens in front of the musicians so nobody can see them or be seen by the musician. That would cure the flash problem for good! Of course I'm not being serious. Manuel. ------------------------------ Date: Fri, 21 May 1999 18:41:39 EDT From: Goodcraker at aol dot com Subject: Adrian at Martyrs Hi all, Just a note to all Chicago ETers....little publicity here surrounds it (unfortunately) but tickets for Adrian's Chicago show at Martyrs (nice place to see him) go on sale Saturday the 22nd....it'll be later than that when this is posted but hopefully I'll have mine by then...hee hee... I think I am gonna wear a giant yellow suit ALA David Byrne to the show...so if you see me (I'll be the one in the giant yellow suit) toss a beer bottle at my head. You'll be glad you did! Crawling back to the dumpster behind Martyrs...till the August shows..... T Murphy/Chicago ------------------------------ Date: Fri, 21 May 1999 20:42:45 -0600 From: Victor Herrera Subject: Onomatopeia madness In the FAQ it is theorized that VROOOM is not an acronym but just an onomatopeia for the sound of a car. The supporting evidence is that in the CD insert, on the flip side of the panel containing the faint, white, inverted word VROOOM there is a picture of a car. I thought that the pictures and the onomatopeias on the other side were random. but on closer inspection, they match. Snap goes with the broken bones, Bang goes with the kid with the guns, Pop goes with the broken vacuum tube, Wallop goes with the boxer, Crash goes with the helmet, and THRAK goes with, well, Thrak. I am still trying to figure out what the CD cover is. Maybe everybody knows. In any case, if somebody knows, can you please comment on it? Victor Herrera vm_herrera at acad dot fandm dot edu San Jose, Costa Rica Franklin and Marshall College Lancaster, Pennsylvania ------------------------------ Date: Sat, 22 May 1999 19:11:17 +0200 From: Norbert Subject: Live Performances from the album "Exposure" It exists a live recording (bootleg) from the Peter Gabriel Concert at The Roxy, Los Angeles, CA. on April 9, 1977: 2LP "Peter Gabriel At The Roxy" Big Thumb Records PG 1200 CD "Peter Gabriel Live USA" imtrat imt 900.014 The concert includes a live performance of HERE COMES THE FLOOD [6:10] Band: Peter Gabriel, Robert Fripp, Steve Hunter, Larry Fast, Allan Schwartzberg, Tony Levin, Jim Maelen, Jozef Chirowski Regards, Norbert ------------------------------ Date: Sat, 22 May 1999 22:19:32 +0400 From: "Sergei Kantere" Subject: Great Russian group tours the States TO: Elephant Talk CC: relevant ET local chapter contact names Toby: Please note the urgent contents Dear Friends, Sorry if you find this post completely off-topic, but I'd like to alert those of you living in US of the upcoming small tour of my favourite Russian group, Inna Zhelannaya and The Farlanders. If you, like me, are always searching for a new and exciting music, read on. Farlanders' music is ferocious ethnic rock with jazz and funk elements. I won't say that they're directly influenced, or strongly resemble KC, but one thing (besides sheer professionalism) that calls for comparison with Crims is the terrifying intensity of the music. Also, I have found over the years that KC fans are almost guaranteed to greatly enjoy The Farlanders. Our fellow ETer, Eric DePoy from New York went with me to hear them while he was living in Moscow and said it was "unbelievable". (Eric, tell 'em!) In fact, I'm so confident about it, that I'm ready to compensate half of the admission fee to those of you who will go see them and won't like them! They're five-piece, driven by the huge 6-string fretless bass, played by the most incredible bass-player I know. Definitely in the same league with Tony and Trey. Inna Zhelannaya, female vocalist, also plays acoustic guitar. She is one of the most internationally acclaimed Russian folk singers, you can find her song on Peter Gabriel's "One World" (?) compilation. I've taped her previous records to some ETers, and everyone liked them. Then there's the drummer and two woodwind players, playing trumpets and countless ethnic woodwinds; one of them being internationally acclaimed Russian folk and jazz player and folk vocalist Sergei Starostin, with numerous collaborations out on Shanachie and other labels. Here at last is the tour shedule in the date/venue/phone/address format: May 24 Iota (703)522-8340 2832 Wilson Blvd, Arlington, VA May 26 Johnny D'S (617)776-7450 17 Holand Str, Sommerville, MA May 28 S.O.B.'s (212)243-4940 200 Varick Str., New York, NY May 29 Luna-Park (310)652-7121 6555 N.Robertson, Los Angeles, CA June 2 Cafe Du Nord (415)282-8876 2170 Market Str. San Francisco, CA Sorry about the short notice and possible misspellings. I'll be happy to hear yor comments. All the very best, and once again, sorry for the off-topic post. Sergei Kantere, Moscow, Russia ------------------------------ Date: Sun, 23 May 1999 10:50:32 -0400 From: Kim Price Subject: J. P.'s Mellotron Page back up! Hi ETers, Just wanted to let you know that my Mellotron Sample Page is back up at: J. P. Hovercraft's Mellotron Sample Page! Enjoy ! The original was replaced by a (shudder...) Spice Girl's page by some glitch @ Fortune City. And I had 25,000 hits, too! Please let me know if you spot any problems with the page... J. P. ------------------------------ Date: Sun, 23 May 1999 22:19:28 GMT From: "Doug Boucher" Subject: EH effects Sorry to get all tech-y, but... >From: max imu >>ElectroHarmonix made some of the cooler guitar boxes of the late 70s >and they are manufactured again after being rare for years (EH went >bankrupt and another company bought the rights and designs since) but >they're pretty expensive now. Their MemoryMan 16 second analog delay >was I think the one oft referred to as a Fripp-in-a-box. Actually, the Memory Man is a different unit than the 16 second delay. I've never seen the 16 second one, so I can't help there, but the Memory Man is a different delay unit that also has chorus and vibrato functions. Guitar Player magazine once described it as capable of sounding like a giant squid munching on potato chips at depths of several hundered feet. I often use mine (an original, they are making this one again) to achieve this very sound. :) Doug NP Allman Brothers - Fillmore Concerts _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com ------------------------------ Date: Sun, 23 May 1999 19:39:34 EDT From: MiqSk8 at aol dot com Subject: shameless sale plug have to liquidate a great deal of my collection to cover some funeral expenses :( check this page over the next few weeks-there's more being posted every couple of days. http://cgi3.ebay.com/aw-cgi/eBayISAPI.dll?ViewListedItems&userid=mbarlow111@ao l.com ------------------------------ Date: Mon, 24 May 1999 20:45:26 EDT From: UGotVision at aol dot com Subject: The other shoe finally dropped i have been wondering since 1972 who played the flute tracks on Exiles. your FAQ page finally shed some light on the whole debacle for me. Actually had an arguement when stoned once with a friend of mine a million years back who said it was aa mellotron track. Being a flutist myself, I was not fooled. thanks so much. ------------------------------ Date: Tue, 25 May 1999 11:46:44 +0200 From: masse at geocean dot u-bordeaux dot fr (Laurent MASSE) Subject: KC/P tracks dictionary/songbook Hello everybody, With the recent proliferation of mainstream archival and CC releases, I was beginning to get lost among the incredible number of officially released versions of various tracks. Thinking of how newly converted KC enthusiasts could be puzzled, and inspired by what is available for the popgroup Squeeze on their website, I have put up a dictionary of all KC/projeKcts tracks with the lengths, dates and all the information I could gather from personal listenings and various sources (e.g. the Robert Fripp discography). Some striking results: there are 13 (deleted or still available) different recordings of 21CSM, and 17 different versions if you consider edits and remixes. There are 9 recordings of LTIAII... I thought this document could be a useful and interesting addition to the site. For the moment, it is in text format and I can forward it to anyone interested. Please e-mail me privately at masse at geocean dot u-bordeaux dot fr. Laurent Masse _________________________ Laurent Masse masse at geocean dot u-bordeaux dot fr Universite Bordeaux I tel: (33) 5 56 84 28 24 Departement Geologie et Oceanographie UMR CNRS 5805 EPOC Avenue des Facultes 33405 TALENCE cedex FRANCE _________________________ ------------------------------ Date: Tue, 25 May 1999 15:50:28 +0604 From: "Alain Proulx" Subject: Next Crimson tour The next album is still to come and I discuss about the next tour. Nobody really knows how will sound the next stuff. Oh yes, we have an idea after earing the Projeckts, but some old songs are always in the set list. I love The Talking Drum and Larks Tongues in Aspic, but I think there's some others that could fit the new crimson sound, or could simply be adapted. Schizoid Man at the end of the last tour is a great idea. Why not something like "The Sailor's Tale"? Oh my goodness, what a room for impro. A always tought of that sound that it could have fit any era of Crimson. What a power the present band could get from this song. I know that King Crimson have always been a band looking forward, but adapting old stuff can be sometimes as much exciting as composing new one. Old fans of the first hour that remain, stand up and make your voice heard. A.P. ------------------------------ Date: Tue, 25 May 1999 17:51:07 -0400 From: Karen Elizabeth Stober Subject: Bruford on Steve Howe Albums and Earthworks review, May 15 In a way, he's on all of them. Bill is drummer Dylan Howe's instructor. BTW, I did catch Bill and Earthworks at the May 15 performance at The Modern Drummer Festival in Montclair, NJ. Earthworks performed a mellow acoustic set for an hour. Mostly the pieces were from the new CD. I got to look at the sax sheet music and those notes are high. But that's from a Bb trumpeters point of view and not a saxophonists. Lots of sax and not your standard 4/4 rythyms. Bill spoke a little about each piece but I'm afraid I forgot what he said. Bill Bruford was a bit of snob and wanted to blow off as soon as possible, but fans wouldn't let him. He had many admirers in the autograph line. Bill signed my ABWH BB Brokum rock card, my Chris Welch Yes book and the new Earthworks CD. Afterwards, I ran into Bill Bruford telling people how slow the audiences are in NJ and how he kept everything very simple with only a few more complex things thrown in. I then asked Bill if he had a minute, I have a question. "You would" he said and walked off into his dressing room. Minutes later he came out carrying tour shirts, drumsticks and stuff and blew off. I waited a few minutes then found him in another hallway nearby. As he walked back I got him, and walked along side. Because he is a jazzer, I asked about who to listen to, to learn jazz and swing rythms. I said I play the trumpet. But I don't know anything about trumpets said he. So I said any instrument, I need to learn forms, patterns, etc.. He said to listen to Clark Terry. Slow and drawn out. I thanked him and left. Last week I attended the International Trumpet Guild Festival in Richmond, Virginia. You guessed it, Clark Terry was the featured guest Thursday night. A most wonderful and lyrical trumpeter. Have a marvelous May and Jolly June all Karen E. Stober karen1 at mail dot idt dot net http://idt.net/~karen1/ ------------------------------ Date: Thu, 27 May 1999 07:46:22 +0200 From: "christian skina" Subject: dts next? I have just paid a visit to my local dvd dealer and have noticed a nice pile of cds recorded on the dts system. Just music, from 5 corners. Mostly was classical and a couple of jazz too. Very expensive. But who cares? (I don't drink, don't smoke, don't have kids and my girlfriend is self supporting :-E) Is this how we are going to listen to future releases? I already hope for a re-release of Mr. Levin's "cave paintings" in 5 channels (sorry, I'm not good in cd titles but you know what I mean). Or the Jazz Cafe evenings? Christian ------------------------------ End of Elephant-Talk Digest #590 ********************************