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 #69 Discipline, Number 69 Thursday, 10 December 1992 Today's Topics: Coffee and chocolates, part III Bruford/Fripp What is "The Mince" Who is Rick Laird? Rick Laird & ramblings Re: Coffee and Chocolates for Two Guitars, Part II Indiscipline on Great Deceiver labeling... Rick Laird? Eno's Ali Click single (US) session work family tree correction Adrian Belew news... [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 3 Dec 92 17:18:04 GMT From: Toby Howard Subject: Coffee and chocolates, part III Fripp: At this point, I should *love* another coffee. What I like about America is, because it's a commercial culture, it's very malleable, if you learn that particular vocabulary to do with making money. But you have all these traps. Gurdjieff said,"Make money with your left foot." That's about as much of yourself as you should have in there. McLaughlin: But that's tricky. Just to keep your left foot in there and not let the other foot get dragged in... Fripp: Meditation in the marketplace, meditation on your feet, in a way. I did it for a while, I could hold it together for a while but...boy, it's very difficult. How did you get on with touring? Actually long periods of being on the road. How did you handle it? McLaughlin: How did I, how *do* I handle it? It's my life, Robert. It's your life, too, in a sense. Fripp: John Williams (classical guitarist) will only tour for six weeks a year. McLaughlin: Well, I need to play more than he does, maybe I need to play out for people, and to create the possiblities we talked about before, of things accidentally happening. Because only in playing, when you're playing every night, do you increase the possibility of this happening. Fripp: But after five weeks and three days, something changes and I think musicians go crazy. We've just done three months and it did me a lot of damage. McLaughlin: I don't think it's so bad. Were you playing the same music every night? Fripp: Yes. But I mean in the sense that improvisation is a long line from one end to the other. It was the same but at the same time it was completely different. McLaughlin: Two guitars, more or less the same program every night...you have to be careful because you can even get trapped in improvisation, n'est pas? Fripp: Yes, or should I say oui. McLaughlin: But to have one of those nights that we were talking about, where we fly like an eagle... Fripp: We had four in New York - two shows for two nights, one after the other and *all* of them were out of this world. Then we did one show in Los Angeles. Boy, that turned me around. It really did. McLaughlin: Do you take sugar in your coffee? Fripp: No, only in French confection. I'm surprised that after living in Paris and New York, you still drink tea. By the way, I'm terribly embarrassed about these wonderful Basque chocolates...I've ravaged the box! You've worked with my favorite drummer, I think: Tony Williams. I mean, you've worked with two of the most important drummers of the '70s, Tony Williams and Billy Cobham. Tony was *my* man...with no disrespect to Billy... McLaughlin: No, I understand *perfectly*. Tony's an artist. Fripp: That _Emergency_ album was really a burner... McLaughlin: Yeah, it was an incredible little band. Fripp: How long did it take to make? McLaughlin: Oh, very little time...judging from the sound (laughs). Doesn't it sound like it was done in one afternoon? Fripp: Although I've read interviews with Tony, I never got much sense of anything... McLaughlin: Tony's a difficult person to know...but I have such enormous respect for him as a musician, as an artist...what he does with the drums. I don't know who hasn't been influenced by Tony Williams. That itself is...is the mark of immortality, in a sense. Fripp: What was it like to play with him? McLaughlin: It was...very difficult, but *really* an incredible pleasure. Because he too is, was my favorite drummer. So to go and work with your favorite drummer...for a jazz musician is one of the greatest kicks you can get. Tony plays with the time like I've never heard anybody play with the time. You have to learn to think like he does, you have to learn his conception of time. It's impeccable (laughs). That's all I can say. Impeccable...mmm...and really...very *stimulating*. Because one of the things I learned from Tony was about breathing, breathing in time. And Miles is a *master* of that way of playing. Fripp: With the new Miles band, the guitarist (Mike Stern) has been criticized for playing loud rock 'n' roll licks. But when he was asked about that in an interview, he said,"Miles came over, turned my amplifier up to ten and said,'Play rock 'n' roll.'" McLaughlin: (laughs) Yeah...that's Miles, that's Miles. Oh yeah. Whatever Miles wants...To work with Miles, in itself, is an experience, unforgettable. And very,very positive. You learn...enormously. Fripp: Could you say what you learned in a sentence or two? McLaughlin: (pause) I learned how to *direct*...how to shape. And, in a sense, how to *get* from the other musicians what the music needs, while at the same time, allowing the musicians to be themselves. He's...he's consummate... Fripp: I think you...that you were the only guitarist for me who could hold in with Miles or Tony... McLaughlin: (embarrassed) I don't know...oh... Fripp: (quietly but firmly) Yeah. McLaughlin: Maybe...I've heard...I like Miles' new guitar player, I like what he's doing. It reminds me a little of the Jack Johnson era. It's not, I guess, a new conception, a new way, but I enjoy the guitar player. But I have...well, two things: one, I don't care what Miles does *now*, he's already done so much; to me he can never lose the stature that he has, in me; two, he hasn't played for...a long time. And knowing the kind of person he is, as long as he continues to play, to work, he's going to do some wonderful things. That I feel for sure. Fripp: We were talking about touring and so on. I have a lot of difficulty, when I play a show, with cameras and recording machines. Because, at the very least, they seem to steal the innocence available in the present moment. If there were an audience of 1100 people at the Savoy, all of whom could listen without any expectation or demands, without bothering about bootlegging on little machines like this (points to cassette deck) or taking pictures...boy, I think you could make the world spin backwards. McLaughlin: That's true, but let's look at it from another point of view. I remember a couple of years ago, I was at the Village Vanguard to see Bill Evans play. He was playing with Philly Joe Jones, and Chuck Israels was sitting in for the night. I've heard Bill play a lot of times, but he was just...*transfigured*. It was so good, so great. It was so intelligent, so beautiful, so elegant, so eloquent, all those words and all those...so inspired! He was playing like an angel. And believe me I *regretted* not having a tape machine. I regretted it. To want to be able to hear that again is a perfectly natural thing. Fripp: Well, yes sure, but... McLaughlin: I mean, don't you...do you listen to records? Fripp: Very rarely, very rarely. McLaughlin: *Anyone*? You rarely listen to music of *any kind*? Fripp: I mean, you're not going to listen to Balinese Gamelan unless you have the Explorer Nonesuch series and so on, but otherwise I'd prefer to go and see a live show. As Blake once said, "He who doth bend himself in joy, doth the winged life destroy." Now if you *know* that you experience of that will *only* be in this moment, with no before or after...you're *there*, you have to be there, if you knew you were going to go home and listen to it afterwards... McLaughlin: By listening to the music...I wasn't thinking about a tape recorder at the time. I was just...I mean...Dave Liebman was there and I was jumping *up* and *down* on my seat I was so excited...because it didn't stop coming...just like a fountain, and I was there with my mouth open, just drinking it in. I didn't think about the tape recorder until *after*, but... Fripp: Some of the most amazing gigs I've known weren't musically very good. Just listening to tapes afterward...I mean there's a real *turkey* happening. It wasn't down to notes, it was down to the energy in the room, between the band and the people and the music. McLaughlin: Hmm...not in this case. No. Because I've heard Bill play a lot, so many times I've lost count, and I listen to his records. And it was *that night*...and it was only that set, because the second set was totally different. It was no longer this *magic*. And in other cases, I think it's directly the inspiration of the musician that creates a magical environment. This happens to me in rehearsal, too, when's there's no audience, some of the best things I've ever played... Fripp: The quality present making love with someone, I mean, do you stick it on a videotape to play back? McLaughlin: Maybe (laughs). If that's what you like. I mean, everybody's got their tastes. I don't think we can really criticize, we can't impose you judgement on anyone else. If they're going to do it...I mean, why not? Fripp: No...well, what I say is this: I find it very distracting to work to photographers and cassette machines. And I feel *violated*, when having said that, suddenly, there you have it... McLaughlin: Of course. I've gotten really angry with some photographers who just come in and, without one word, they're like,"Can I take your picture?" It just makes me snap. From anger. But there's only so much control we have and...also...I have to be able to *accept* and not be disturbed. I don't think it's good for the music. I *need* to be...self-contained and not dependent upon any exterior environment. And I can't...I don't want to get in the way of development of what technology we have because it's so...it's part of human nature. I *understand* it. Fripp: When you were in Reading in 1975, you were using a guitar synthesizer. Have you taken any interest in the new Roland guitar synthesizer? It's coming on the market soon...it's phenomenal. The guitar side of it is sensational. McLaughlin: No...I know more or less what's happening with synthesizer guitar. Do you know the Synclavier people? They have a system, in fact, there's one I ordered that will arrive later this week. It's a digital synthesizer... Fripp: Is it polyphonic? McLaughlin: Oh, yes, it's quite an extraordinary machine, because it involves the use of a floppy disc computer, with this CRT terminal. It fact, it has sixteen-track digital memory inside, so you can record digitally, directly, what you play. There'll be a program for the guitar, a software program that will allow the hardware to be used by the guitar. You'll have access to all the wave forms, which in fact you can create on the CRT screen, because you can show it up visually, or you can show it up mathematically. It's not...how do they say?...subtractive synthesis; it's *additive* synthesis. That means you're not governed by any fixed parameters. It's *really* an extraordinary instrument. Also, they'll have this transcription program available which means, of course, that what's recorded can by thrown up on the screen in musical notation... Fripp: WOW! And these people are American? McLaughlin: American - New England Digital. I think for the first time there will be a real possibility of the guitar synthesizer. Because up until now what have been put on the market has been, I think, very ineffective. Fripp: One thing that I didn't ask you earlier when we were talking about Tony and Miles and so on; what was it like to play with Jimi Hendrix? I heard a tape of a jam... McLaughlin: If it's anything I've heard...this is what I refused them permission to put out, because what I heard was about three or four minutes of some playing that was really not happening, it was just... Fripp: I'm inclined to agree... McLaughlin: Right, and I said,"It's not possible. You can't just put this out with the names and rip people off. You can't do it!" Anyway, that aside, Jimi was...a very,very sweet person. And a really revolutionary guitar player in the sounds that he got out of the guitar. I mean, he shifted the whole course of guitar playing, single-handedly, in my opinion. Of course, there are now a lot of variations on that, but he did it with such grace, and with finesse, and with *real passion*. I can't ask for any more than that. Fripp: Do you find that listening to a lot of other musicians confuses your own work? If I listen to someone whom I like very much, indeed, so much that I think I could confuse what I'm doing. I stop listening to them. For example, I very much enjoy _Extrapolation_. Did you record that in a day? McLaughlin: Oh, no. Two or three afternoons, I think. Fripp: And when Mahavishnu began, I *deliberately* didn't listen to it, because I would've followed it and I...I was so attracted to it, I thought,"No, this will seduce me." You know what I mean? McLaughlin: Yeah, I understand that. But I like to listen to people who I like. I like to, I want to let them influence me. Because I think I learn *always*. And I'm never going to sound like them anyway. Fripp: No, but if you were 21, 22... McLaughlin: Ah, well, when I was 21, 22, unfortunately for me, there were no guitar players that were up to the caliber of Coltrane or Miles or Bill Evans or Red Garner. In fact, I was more influenced by the horn players and the piano players. Fripp: You were the first guitar player for me that had the chops to meet these people on the same terms. I could hear jazz guitarists kind of taking the easy way, simply because the couldn't go for what the horn player could get. McLaughlin: Yeah, yeah. I think it's a curse and a blessing. The same thing with piano. It's so difficult to move around on a guitar in the harmonic way one can do on a keyboard. I mean, it requires...it can't be done...*except (snaps fingers) Ted Greene!* (whistles) This guy is really unbelievable. He's the only guitar player who accomplishes this thing that really turns me on. Fripp: If you listened to the people who you would like to influence you, who would they be? McLaughlin: Mmm...I think still my perennial favorites, my perennial heroes: Coltrane, Miles, Cannonball Adderley. Have you heard the live album, newly released? Miles in 1959, with Coltrane, Cannonball, and Bill Evans. Cannonball, Coltrane...whooo, there's two monsters. I love the interplay, the kind of intimacy they get together. It's the same of instrument, and they've worked a lot in similar environments. I think that's one of the things I like about playing with Paco (DeLucia) and Al Di Meola, because they're playing *my* instrument, and it's intimate, another guitar. *You* know what it's like playing with another guitar. Fripp: Adrian is the first other guitar player I've ever worked with. I've never like guitar players, basically. McLaughlin: Hmm, yeah (laughs). I know the feeling. I just listened to some King Crimson. The new one, _Discipline_. Fripp: We had been together for six weeks when we did that. McLaughlin: That's not you singing, is it? Fripp: No, that's Adrian. We've some quite a long way since that album. McLaughlin: Umm-hmm. It's funny, there were times when I even heard some...allusions to the Mahavishnu Orchestra, in an odd kind of way. Fripp: Hmm. That wasn't...deliberate, because, as I said, when I heard the Mahavishnu Orchestra, I deliberately didn't listen to it, because it...it would've seduced me, it would've been too close. But certainly, Mahavishnu and Billy Cobham were a big influence on Bill (Bruford). McLaughlin: Ah-hah. Yeah, he's playing very strong. Fripp: I wouldn't have thought it was a band that would have interested *you* particularly. I wouldn't have thought rock music... McLaughlin: Well, I'm interested in...I mean, you've just gone through enormous *trouble* to come and speak to *me*, and it means a great deal, it says a lot to me, and I wanted to know more about *you*. Fripp: I think, if you wanted to listen to some of my work which I think *you* might like, it would be... McLaughlin: Well, I don't think you should prejudice it in that way. Fripp: All right, but the expectation's there, because it's all improvised, I mean, it's purely improvised. It's an album I did with Brian Eno, _No Pussyfooting_. Side one is...I had just met with the fellow and had gone and spent the evening with him with a glass of wine and coffee, this was in 1972, and he had a system of recording with two Revoxes (tape machines), and he didn't explain it to me and I didn't know what it would sound like, but I plugged in and played. It was simply, there you are - do it. I had never heard the guitar quite sound like this, yet it provided me with the technical facility for getting a sound which I had been *hearing* on the inside for about five years, but had never managed to get. McLaughlin: That's very good; very helpful, too. So suddenly, you felt liberated... Fripp: Liberated is the word. I had a lot of difficulty working with other musicians, because I'm not a forceful player, and I have a lot of difficulty with enthusiastic drummers thundering around. So just to be able to develop at my own speed, without any useful suggestions...really was liberating. McLaughlin: I would like to hear it. You send me a cassette and I'll send you a cassette of _Epiphany_. Fripp: Done. A cliche, if you would do it for me: what advice would you give to a young player? McLaughlin: He has to learn his instrument. He has to learn harmony, rhythm, and melody, the three predominant aspects. I think he should familiarize himself with the various musical cultures that exist in the world, because they are *all* enriching. I think, also, we come back to this paradox, Robert...he has to learn everything possible, and then be able to forget it all at the drop of a hat. That's the most tricky thing of all (laughs). But there's got...there's always more to know. Advice? Work. A four-letter word. Capital W. That's the only thing we have finally, isn't it? We have time, and what do we do with time? Fripp: (pause) Good. That's wonderful. That's very good. -- 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 3 Dec 92 19:34 PST Subject: Bruford/Fripp From: Ken Stuart Hello, Bruford IS a very intelligent guy, but we all have our various prejudices likes and dislikes. He is wrong about Fripp, though [I don't expect arguments to that here :-)] -- Fripp's musical (and otherwise) philosophy is the most advanced around these days [along with Eno and John McLaughlin (see Fripp comment in recent Discipline) -- other innovators of the past seemed to have stopped doing so (eg Emerson, Anderson, Froese, Schulze, Fricke, etc.) ]. I saw a show on the Moraz/Bruford tour, enjoyed it, and have subsequently forgotten every detail about it :-). Perhaps Byrne should be added to the list of current innovators (another Enophile), and Gabrield to the list of rust-ers ('though his record label is innovative). Earthbound, by the way, sounds like three generations of $29 cassette recorders :-) . Can't blame Fripp for disavowing it. Ken ---- kstuart at waffle dot sns dot com (Ken Stuart) Systems'n'Software Free Public Access BBS --- (510)623-8652 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: ee152fcy at sdcc15 dot UCSD dot EDU (Paolo Valladolid) Subject: What is "The Mince" Date: Fri, 4 Dec 92 7:51:06 PST In Issue#68, someone commented on a CD called "The Mince", described as "Robert Fripp reading reviews to an audience". Is this available in the US, and if so, is it being sold as a CD single under Robert Fripp's name? -- Find notes that are joyful to you, play them at a fast tempo, and people will get something out of them. - John McLaughlin Style doesn't signify a thing; it's just the way you do something - Allan Holdsworth [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: ee152fcy at sdcc15 dot UCSD dot EDU (Paolo Valladolid) Subject: Who is Rick Laird? Date: Fri, 4 Dec 92 10:07:18 PST In response to "Who is Rick Laird?", he was a bass player in the Mahavishnu Orchestra. I believe he played on _Inner Mounting Flame_, I'm not sure about the other albums. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 4 Dec 92 11:07:40 PST From: steve%golan at netcom dot com (Steve Yockey) Subject: Rick Laird & ramblings >From: dalton at isidis dot colorado dot edu (lizard man) >Subject: Fripp Comments from "The Mince" > >The other day I was listening to a section where Fripp reads some newspaper >reviews of Crimson to the audience, and the reviewer talks about "bassist >Rick Laird." Now, this confuses me because I could SWEAR Wetton is the >bassist on this recording...his voice is pretty distinctive. So who is Rick >Laird? I've heard the name, but don't recall him being a Crimso member. Was >the reviewer just confused (well, it was clear that the reviewer was >confused, but...) I don't know who Rick Laird is, but I'm pretty sure he was never a member of Crimson. And you can tell by the way Fripp reads the review (emphasizing the name Rick Laird) and by the audience's response (laughter) that the reviewer was completely out of touch. I'm drooling in anticipation of the live box set. (just placed an order through Noteworthy Music -- the box set is $51.47 -- is that a good price? I haven't seen it in stores yet.) From what I've heard on this list, it doesn't sound so much like a "beat the boots" type of thing, since the locations mentioned don't seem to be available on the bootlegs currently available (most of which I've spent too much time, energy, and money acquiring). Some folks here have mentioned that 4 CDs is just too much. Just thought I'd disagree. What I'd like to see is a bunch of 2CD sets come out, each devoted to an entire, unedited concert from each tour. From what Fripp has said about his tape collection, this sounds quite possible, however improbable. Fripp has an annoying tendency to "overedit". "The Essential King Crimson" box set displays many fine examples of this. Fripp butchers the classic Ansterdam '73 medley (The Mincer/Talking Drum/LT pt2) by removing Larks' Tounges Pt 2 and throwing in some canned applause. Was he seriously trying to fool us? There was at least one other 80's live medley that he cut short. Maybe I was just used to the old versions, but the edited ones felt a lot less powerful to me. Then there was his unforgivable butchering of "Starless", which in its unedited state is IMO *the* most powerful Crimson song. I'm just hoping that he's shown some restraint with the lastest set. I won't even get into the weird "Definitive Edition" thing. Enough rambling, steve steve at scopus dot com ps.Crimson, Camel, & Police bootleg CDs for sale or trade. send e-mail for info! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 4 Dec 92 11:23:30 PST From: "John M. Relph" Subject: Re: Coffee and Chocolates for Two Guitars, Part II I must say, this is one of the funniest things I've read in a while. It really shows off the humourous side of Fripp's personality, and McLaughlin as well: >Fripp: As we're talking through these heavy things, I'm munching without >any guilt at all through my favorite French confection. > >McLaughlin: Can I get you more coffee? > >Fripp: I should love more coffee. Where do these chocolates come from? > >McLaughlin: They come from the Basque coast, where we go a lot of the time. >Maybe one day you can come and visit. > >Fripp: I should love to do that. I use French confection as an analogy >sometimes. People say, "What's the difference between earning a living, or >having a go so it's more than just a mundane process?" and I say it's the >difference between Hershey bars and French confectionery. You have to know >French confection to understand what a Hershey bar is. > >McLaughlin: Did you ever see _The French Connection II? There's a scene >where Gene Hackman is in France and although there's all this Swiss >chocolate around, he only wants a Hershey bar...(laughs) > >Fripp: I never did drugs, you see, so I was only told about the connection. >It seems to me that details such as chocolate or clothing give insight to >the person... French confection, French Connection, drugs, get the connection? -- John [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 4 Dec 92 17:27:57 -0600 From: John R. Nash Subject: Indiscipline on Great Deceiver labeling... I have managed, with great difficulty, to find something wrong with The Great Deceiver boxed set. On the edge label of the CD, disc three is labeled 'disc four', and disc four is labeled 'disc three.' The colors match the correct volume colors, though. Also, the crowns in the corners of the CD's clearly were made for a square boxed set, not a rectangular one. Great music and outstanding packaging, though! -john nash nash at chem dot wisc dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 5 Dec 92 20:09:11 CST From: tmadson at pnet51 dot orb dot mn dot org (Todd Madson) Subject: Rick Laird Rick Laird was the bass player in the early Mahavishnu Orchestra. John Wetton did indeed play on the recordings in question. The Laird mistake was probably some overzealous critic's idea of a joke or probably more likely a critic not being very informed on musicians in bands in general. UUCP: {amdahl!bungia, crash}!orbit!pnet51!tmadson ARPA: crash!orbit!pnet51!tmadson at nosc dot mil INET: tmadson at pnet51 dot orb dot mn dot org [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 7 Dec 92 11:03:28 PST From: "John M. Relph" Subject: Eno's Ali Click single (US) Here in the USofA Eno's Ali Click single came out with an extra track, "I Fall Up" or somesuch. It really sounds as if it's Fripp playing the guitar on this track, but he's not credited on the liner notes. (Probably because the liner notes were taken from the original UK single.) Is that Fripp? Or does it just sound like him? -- John [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Gene A. O'Neal Subject: session work Date: Tue, 8 Dec 92 21:05:11 EST Here's something useful ..and maybe you can help me out too fripp did some session work after/during crimson....here's a short but uncompleted list: Colin Scott (1971) self-titled album USA1009 Talking Heads (1979) Fear of Music (?) Blondie (1980) but i don't know which album.. He also produced the english studio band Centipede album "Septober Energy" 'consisting over fifty members, including strings and horns, who released one experimental jazz album'---taken from "The Who's Who in Rock Music" Some other side questions too: On the cover of the "Court" album and on the "Cheerful Insanity of Giles, Giles, and Fripp" there is a hand signal being used..the thumb and the finger beside the "pinky" what does it mean? does it relate to the religion Robert is in? cinder "this night wounds time" [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Gene A. O'Neal Subject: family tree correction Date: Tue, 8 Dec 92 21:40:24 EST Intersting fact i found...the family tree in the box set "frame by frame" is missing something ....it labeled Mike Giles as doing various session work at a point in the tree but it missed a group that he was in...it was Grimms they had only one album and its self titled on the island label (1973) the group consisted of John Megginson on piano and bass: Neil Innes on piano and guitar; Adrian Henri on vocals: Zoot Money (of the Animals) on piano and guitar; Roger McGough on vocal and percussion; and Michael McGear (Paul McCartney's brother) on vocal and percussion. 'had talent and big names, but no audience in the U.S.' --taken from "who's who in rock music" cinder "this night wounds time" [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 9 Dec 1992 11:34:46 -0500 From: Christopher Williams Subject: Adrian Belew news... I don't know how many of you are members of Adrian's fan club, but I am, and I recently received another newsletter: For the 4th consecutive time, The Rhino King was once again crowned BEST EXPERIMENTAL GUITARIST by Guitar Player Magazine! As part of their 25th Anniversary Celebration, Adrian performed in Guitar Player's "ULTIMATE GUITAR CONCERT." The event was held on September 19th ar San Francisco's Warfield Theatre and included performances from Adrian, Ry Cooder, Joe Walsh, Al Dimeola and John Lee Hooker, among others. Adrian performed his classic version of "PURPLE HAZE," in tribute to his hero, Jimi Hendrix. The rhythm section of Steve Smith (Journey) and Stuart Hamm (Steve Vai, Joe Satriani) accompanied Adrian and they reportedly rocked the house... And speaking of tributes, Adrian was asked to arrange and record an instru- mental version of a Beatle song of hisa choosing, to be included on an upcoming LP on NYC Recoeds. Adrian chose "Blackbird," and is in the final mixing stages of the track. We'll let you know the name of the record and its release date as soon as possible. And speaking of the studio, Adrian is busy working in the studio with other recording artists. As a producer, he is more in demand than ever since the LP he produced for CAIFANES (Mexico's #1 Alternative Band) earlier this year has just been certified gold. Adrian's next studio project is happening as we write. He is currently in Woodstock recording with Elektra Recording Artist, Sara Hickman. Adrian is performing with Tony Levin on this album. And speaking of Mr. Levin, etc., there have been many questions from the Fan Club about the rumoured King Crimson reunion. There is still nothing firm to tell about such a reunion, though Adrian and Crimson founder Robert Fripp speak to each other frequently. If the reunion record and/or tour does occur, it WILL be in 1993. Fans in the Washington DC area may have been lucky enough to see the show Robert and Adrian did together on this spring's tour. (...) ...with the release of Inner Revolution, Adrian has completed his three-record contract with Atlantic Records, and is now working on music for his next album. The label affiliation will be announced a.s.a.p. And speaking of new records, Adrian may not be the only Belew to have one in '93! Audie Belew, who sang on and appeared in the video of her dad's 1989 hit single, "Oh Daddy," is beginning to sort through material for a possible solo project of her own! -------------------------------------------------- The next newsletter should be out in 1993. If anyone wishes to join the fan club, or send Adrian best wishes for the holidays, send a letter to: Umbrella Artists Management P.O. Box 8335 Cincinatti Ohio 45208 --Jeremy (even though the name says Chris) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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.