Reply-To: toby at cs dot man dot ac dot uk Sender: toby at cs dot man dot ac dot uk Precedence: bulk From: toby at cs dot man dot ac dot uk To: toby at cs dot man dot ac dot uk Subject: Discipline #66 Discipline, Number 66 Friday, 20 November 1992 Today's Topics: Lark's talk misquote Re: E'G labeling error Great Deceiver Bill Bruford and Fripp/McLaughlin Coffee and Chocolates for Two Guitars [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: tm1cy1 Date: Tue, 17 Nov 92 17:42:59 GMT Sybject: Lark's talk Hi all, I was listening to Lark's tongues and was wondering what the voices are towards the end of Part I, are they from a film? Many thanks for the answers to my previous queries, to continue with the Boz Burrell theme, did he play bass on Lizard, and if so had his playing improved by any ammount? Does anyone have any lyrics they can e-mail me? Paul [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 18 Nov 92 08:58:17 EST From: davidh at kau1 dot kodak dot com (David Hodson) Subject: misquote > From: ee152fcy at sdcc15 dot UCSD dot EDU (Paolo Valladolid) > > "...We learn reading, writing, and fainting in coils..." > > - Bill Bruford as the Mock Turtle That's " ... drawling, stretching, and fainting in coils." From Alice (in Wonderland? through the Looking Glass?), of course. Sorry about the pedantry, but some of us take this stuff seriously :-) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: ee152fcy at sdcc15 dot UCSD dot EDU (Paolo Valladolid) Subject: Re: E'G labeling error Date: Tue, 17 Nov 92 13:45:44 PST I bought a copy of Sunday All Over the World's _Kneeling at the Shrine_ and I noticed that the CD itself was labeled "Robert Fripp and the League of Crafty Guitarists: A Show of Hands"! I listened to the CD and it turned out to be _Kneeling at the Shrine_. Anybody else find labeling errors with E'G CDs? BTW, _KATS_ was an OK album. Fripp's playing seemed more relaxed since the last Crimson record. However, every song was in a minor key ( heck they might have all been in the same key, but I haven't listened to the album again yet ). Toyah was ok, but she would definitely not belong in King Crimson ( at least I hope not; what would she do when the rest of the band is playing an instrumental? ) -- Paolo Valladolid pvallado at sdcc13 dot ucsd dot edu "...some of you all in such a bad luck right now you couldn't hit a barn with a baseball bat..." - The Prophet Omega "...He taught us drawing, stretching, and fainting in coils..." - Bill Bruford as the Mock Turtle [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: MICHAEL dot LEE at mail dot admin dot wisc dot edu Subject: Great Deceiver Date: Wed, 18 Nov 92 14:49 CDT Wow! I picked up the live boxed set yesterday. I've managed to get through 3 of the 4 '70 minute discs. A solid track by track review is beyond my scope -- I don't have the time right now, and I am trying to get some work done today. :-) The simple review: Is it worth it? I bought mine for $52.00, and have already decided it's my best investement in Crimson. Throw out those bootlegs - you just Don't Need Them. It was, ironically, a bootleg from this period that turned me on to Crimson, and this is just incredible stuff. The sound is excellent and clear, with vivid stereo. I was playing the first disc on my roommates surround sound system, and I couldn't even work I was getting into Larks' Tongues in Aspic so deeply. There really isn't a lot of duplication of songs, and even when they are duplicated, they are different enough that you don't care. Interesting tracks - a Wetton version of Cat Food! Beg, borrow, and steal for this one.....it's excessive, both in documentation (67 pages, most of which has absolutely nothing to do with Wetton-era Crimson) and in content (4+ hours)), but it really is incredible. I may ship some more comments out later, if I have time. Michael Lee [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: ee152fcy at sdcc15 dot UCSD dot EDU (Paolo Valladolid) Subject: Bill Bruford and Fripp/McLaughlin Date: Thu, 19 Nov 92 12:39:19 PST I recently rented Bruford's instructional video _Bruford and the Beat_ ( this can be ordered from DCI Video as well ). Although I am not a drummer, I got a lot out of it. One especially memorable moment was when Bruford played four independent rhythms all at once with each arm and each foot ( he uses two bass drums ). Interspersed throughout are appearances by Robert Fripp and Steve Howe commenting on their experiences working with Bruford. Fripp's comments are positive, but he does mention that cymbals irritate him. The most exciting section of the video for me was "The Discipline Rhythm". Here, Bill shows how he, with the aid of an African slit drum, gradually built up his drum part for that famous tune. The climax, of course, is footage of the entire King Crimson band delivering a studio perfect rendition of the tune ( whether this was videotaped during a recording session or this performance took place just for Bill's video is unclear ). Belew, with his gee-what-am-I-doing-here-with-these-guys grin, cracked me up. Fripp for the most part watched Belew, occasionally nodding with approval like teacher to student. Fripp explained that the guitars were in five, which would be perfectly natural for a Bulgarian folk singer. After viewing the video, the realization of just how vital Bruford was to King Crimson fully hit me. I don't fully understand why he cannot be a part of Crimson again; all I'm aware of is the Fripp/Bruford tension and Bruford's reference to Fripp's Guitar Craft as a "lunatic school". Anil Prasad at one time offered additional info to those who would want it ( personally given by Adrian Belew ), but he has not responded to my email. Actually, he has never responded to my email... Just received the Musician issue with the interview of John Mclaughlin by Robert Fripp. This is a *must-read* for Crimson fans as well as Mclaughlin fans as it reveals almost as much about Robert as it does John... -- Paolo Valladolid pvallado at sdcc13 dot ucsd dot edu "...some of you all in such a bad luck right now you couldn't hit a barn with a baseball bat..." - The Prophet Omega "...He taught us drawing, stretching, and fainting in coils..." - Bill Bruford as the Mock Turtle [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: ee152fcy at sdcc15 dot UCSD dot EDU (Paolo Valladolid) Subject: Coffee and Chocolates for Two Guitars Date: Fri, 20 Nov 92 8:23:10 PST Note: This article originally appeared in _Musician_ No.45, July, 1982. Let the reader be assured that what follows is *not* some fabrication of an overactive imagination. Never in my wildest fantasies would I have thought up of what follows... Reason for posting this: Must be shared with fellow Crimheads... Coffee and Chocolates for Two Guitars by Robert Fripp Weather shut England and delayed the jammed flight to Paris by three hours, so I landed at 1:30 pm. A mad taxi driver helped to make up the lost time by driving like a mad taxi driver (the only madder ones than Paris' are in Milan). This guy only hit one car but we *nearly* collected a second-a young Parisien jumped the light so we took it kinda personal, sped up and aimed. He backed down when he sized the opposition. Then we drove through the No Entry sign to John's streed; his number was inconveniently at the wrong end. I got out at the front door of the quintessentially French apartment building, in what looked suspiciously like a pedestrian zone, a small back lane of one of my two favorite cities in the world. John McLaughlin should need no introduction, but I suppose editorial etiquette necessitates an exposition of the highlights of his extraordinary career. John probably would be equally admired had there been no Mahavishnu Orchestra - his turn-of-the-decade work with Tony William's Lifetime and his contributions to Miles Davis' epochal _Bitches Brew_ (known forever as the first fusion album) and _Jack Johnson_ would have ensured that - but it is unquestionably the Mahavishnu Orchestra, with its jagged explosions of cosmic fire and odd-metered funkiness that remains McLaughlin's best loved and most celebrated bad. The Orchestra's cheerful acceptance of rock 'n' roll and other non-jazz idioms never diluted the pyrotechnical excellence of its musicians, Billy Cobham, Jan Hammer, Jerry Goodman, and Rick Laird. Both before and after Mahavishnu, McLaughlin quietly established his jazz credentials as a band leader in a more subdued but more personally expressive medium with such brilliant albums as _Extrapolation_, _My Goals Beyond_(recently rereleased), the underrated _Johnny McLaughlin-Electric Guitarist_, his collaboration-meditation with Carlos Santana _Love, Devotion, and Surrender_ and his latest _Belo Horizonte_. McLaughlin is one of the very few guitarists who have consistently held my respect. Not all his music is my bag of bananas, but I've learned from all of it. And he's still moving. The traditional arguments about technique - no feel, no music - don't work with this man. My hunch is that the streams of notes don't even come close to the tearing, ripping spray of what is trying to get out. Except sometimes. I am warmly greeted by John and his attractive roommate ( and the keyboard player in _Belo Horizonte_), Katia LeBeque. Katia and her sister are a classical music duo with a four-hands piano rendition of Gershwin's _Rhapsody in Blue_ selling modestly in Europe. John is a dapper dresser; today he's in grey: flannels and pullover, shirt and tie not quite matching and just enough so that either you knew that he knew, or maybe he knew you didn't. This subtlety of stressing the discontinuities, come exquisite Basque confectionery placed between us, the charm of the apartment - in mellowed pink, the ceiling veeing into the roof, spiral stairs - hinted at an intermezzo between the acts of flying. John is straightforward, friendly, and a gentleman. He speaks softly in a curious mix of Scottish, Indian, and French accents. We discussed the several occasions we had previously met for a time, and then I assumed a more jounalistic role. [..to be continued...] [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] To join this mailing list or have your thoughts in the next issue, please send electronic mail to Toby Howard at the following address: toby at cs dot man dot ac dot uk The Discipline archives are available on ftp.uwp.edu, in /pub/music/lists/discipline. The views expressed in Discipline are those of the individual authors only.