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               E L E P H A N T    T A L K

        The Internet newsletter for Robert Fripp
              and King Crimson enthusiasts

                        Number 716

                   Friday, 21 July 2000

Today's Topics:

   NEWS: Tomorrow Saturday 22 John Paul Jones Cybercast

   More Miles related...
   First ET
   King Crimson And Bjork
   B L S
   Outyouthed
   The miracle of recorded music, and KC's recorded oeuvre
   Moles/bargain price
   Mr. Bungle (and Bjork)
   Howard Stern Covers Crimson
   Flash Photography
   What now?
   One last word about Bjork
   the tour suck!
   Bjork & other female singers
   Responses to recent ET posts
   Ze mystery bass in Portugal?
   TCOL working for you yet?

   GIG REVIEW: Bill Bruford's Earthworks live in Barcelona

------------------ A D M I N I S T R I V I A ---------------------

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------------------ A I V I R T S I N I M D A ---------------------

Date: Fri, 21 Jul 2000 13:24:14 -0500
From: "Gerardo Liedo" <gliedo at albec dot net dot mx>
Subject: NEWS: Tomorrow Saturday 22 John Paul Jones Cybercast

Just a reminder, tomorrow Saturday John Paul Jones cybercast from the House
of Blues http://www.hob.com/live/events/000722johnpauljones_ppv/pre.asp

Saludos
Gerardo Liedo

------------------------------

Date: Wed, 19 Jul 2000 20:37:48 -0500
From: Craig <v-dorje at ticnet dot com>
Subject: More Miles related...

>George Russell's electric band with Terje Rypdal on guitar

Interesting! What`s the name of the recording you refer to?

> William's Lifetime came before
>'Bitches Brew';

Same time, really.  (Recordings were 2.5 months apart) Tony left Miles to
start his own group, & McLaughlin turned down playing w/ Miles (his idol)
to play w/ Tony.

>Miles poached Joe Zawinul and his electric
>piano sound from Cannonball Adderley

True. He also took credit for one of his compositions.

>I wouldn't consider Ellis to be an equal of Miles, but along with Dave
>Brubeck, Alice Coltrane and George Russell, I feel he's worthy of being

>slightly more than an ignored footnote in the history of jazz, and as I

>pointed out, he liked a tricky time signature almost as much as the
average
>Crimson fan.

I doubt Brubeck will ever suffer this fate.  It`s a shame more attention
isn`t paid to Alice`s work. Her concerts were wonderful experiences. I
still adore JOURNEY IN SATCIDANANDA.

I now need to investigate Ellis` earlier work.
C

------------------------------

Date: Thu, 20 Jul 2000 03:18:48 EDT
From: Ianreyn at aol dot com
Subject: First ET

In ET #714 Doug McKee mentioned

>Actually (and with all due respect) it is not funny at all.  Bjork does
>have some talent and has a certain following. That being the case, however,
>does not justify the premise of this entire discussion. To the point, I
>can't imagine Bjork doing King Crimson vocals anymore than I could imagine
>Britney Spears (God help us!!!) or some other creature of commercialism in
>this diminished yet still critical role.

Hey Doug, blow it out your ass! Issue #813 isn't even out yet.

------------------------------

Date: Thu, 20 Jul 2000 01:11:33 -0400
From: leslabb at ptd dot net
Subject: King Crimson And Bjork

In response to the following from ET 714;

>Actually (and with all due respect) it is not funny at all.  Bjork does
>have some talent and has a certain following. That being the case,
>however, does not justify the premise of this entire discussion. To the
>point, I can't imagine Bjork doing King Crimson vocals anymore than I
>could imagine Britney Spears (God help us!!!) or some other creature of
>commercialism in this diminished yet still critical role.

Well all I have to say is to visit the following link and enjoy the sound
clips you can find, The band is called ZIA and are a interesting group to
say the least. http://www.ziaspace.com

leslabb at ptd dot net

------------------------------

Date: Thu, 20 Jul 2000 11:55:15 +0200
From: Gnad Markus <MGnad at rundschau dot co dot at>
Subject: B L S

Hello all!

The recent Artist Shop newsletter told about the coming record of
Bozzio/Levin/Stevens.

This led to a discussion with a friend. He told me that he had once seen a
CD (early 90's) of an unknown band featuring Levin and Bozzio. One album,
with a dark cover, very hard heavy metal he said.  It has disappeared.

Anyone knows?

Markus
"Cheap thrills in the back of my car"

------------------------------

Date: Thu, 20 Jul 2000 12:09:21 +0200
From: Gnad Markus <MGnad at rundschau dot co dot at>
Subject: Outyouthed

Manuel Fernandez spoke about that the King has outyouthed some of us.
This seems really true.

In fact, what I can remember from Fripps diaries and liner notes, this is
the ultimate aim for rock music: Attracting young people, and giving the
young - and important: THOSE WHO ARE STILL YOUNG - something they can
identify with.

His exact words not in mind, the most important thing is how you feel when
you listen to music. Doesn't depend on what kind of music it is. Being 15
and being a Backstreet Boys fanatic is more than OK.

And creating that new KC stuff is certainly some way to connect with those
who are young and those who feel young.

BTW Just thinking...  Manuel, your family has been assaulted by two armed
men?  And the only impact they had on you was that they stole your prog
stuff??? Well, I suppose you told them: "Oh please not my Sheik Yerbouti,
oh no, take the TV set instead..."  Just kidding! - I hope nothing serious
had happened!

Markus

------------------------------

Date: Thu, 20 Jul 2000 11:34:13 +0100
From: Sandy Starr <s dot starr at cScape dot com>
Subject: The miracle of recorded music, and KC's recorded oeuvre

Referring to the wonderful Fripp/McLaughlin interview of 1982, Craig
<v-dorje at ticnet dot com> wrote:

>a library of recorded music (live AND studio), is such a treasure. You can
>visit whenever the inspiration occurs. You can re-experience (even if only
>to a lesser degree) that magic.

Hmm, the 'live vs. recordings' discussion is one that I find really
interesting. When I first started going to live performances of bands I
liked, I found myself unable to concentrate, because I was too busy worry
ing about whether I was enjoying myself enough. Since then I've learned to
relax a bit more and enjoy gigs for the unique experience they are (like
at the Paris and London gigs of the TCOL tour - THANK YOU AGAIN RF, AB, TG
AND PM FOR TWO GREAT NIGHTS!).

I still treasure recorded music, because I love the process of
familiarisation and letting the recording 'grow' on you. Once you know a
recording so well that you know what's coming next at every point in the
music, you can reach a kind of ecstasy, where you don't 'like' or 'dislike'
the music - the music just IS. And then after you've been in that state for
a while, the recording gets too close for comfort, and you have to give it
a rest before rediscovering it. (Last night I had the wonderful pleasure of
re-engaging with my ITCOTKC remaster, having given it a rest for a while).

The invention of recording techology changed the face of music, for better
or for worse. It actually began earlier than one might think - in the
nineteenth century, pianists would capture their performances on wax rolls
which could be played back through specially constructed player pianos.
Some of these have survived (including rolls of Claude Debussy playing his
own work!). Before recording technology, the locus of a piece of music
tended to be the unchanging written score, from which performances deviated
to a greater or lesser degree. Eastern and earlier Western music needed
little or no fixed locus, and existed purely through performance and
memory.

With modern music, we often conceive of the locus of a piece of music as
the captured sound recording, and fetishise it. Is this a good or a bad
thing?  RF seems to have misgivings about the shift in emphasis. Although I
accept that fetishising recorded music can have its downside (an
under-appreciation of live performance for instance), I cannot help but
think of recorded music as on the whole a Good Thing.

The best illustration of this I can think of, and the most appropriate to
ET, is the documentation of King Crimson's history through the
ever-expanding number of available King Crimson recordings. This forms a
remarkable tapestry, through which we can trace the trajectory of that
intangible entity called King Crimson in a documented form. This tapestry
does not substitute for or detract from the experience of having seen KC
live; it merely intersects with that experience.

If you take all official KC releases on CD (studio albums, DGM releases,
KCCC releases), and you arrange them in order of when they were recorded,
you get a mind-boggling list which I hope Toby won't mind me posting in as
abbreviated a form as possible.

Criteria of this list:

1) This is a list of CD releases - it excludes recordings available only on
vinyl (e.g. Earthbound, the Cat Food single), available only on video (e.g.
Live in Japan '84 and '95) and available only as a download (e.g. Live at
Mexico City). USA, KCCC12/13 and BTV releases are included in [square
brackets] because they haven't been released yet on CD.
2) To qualify for this list, a CD release has to contain at least one track
unavailable in that version on any other CD release (e.g. Groon on Young
Person's Guide, restored mix of Sleepless on Concise KC). For the purposes
of this list, straightforward edits and remasters do _not_ constitute
different versions of a track, but substantial remixes _do_ constitute
different versions of a track.
3) The list is in order of the latest recording featured on each release
(e.g. track with re-recorded vocals by Belew on Frame by Frame, ProjeKct 2
tracks on the Cirkus compilation).
4) All 2CD and 4CD sets constitute single CD releases, with the sole
exception of the albums in the ProjeKcts box set, which are listed
individually.
5) Only releases credited to KC or to ProjeKcts 1-4/X are included in this
list.

The list is:

ITCOTCK; KCCC1; [KCCC12]; Epitaph; ITWOP; Lizard; KCCC2; KCCC9; Islands;
KCCC3; LTIA; Night Watch; Great Deceiver; [USA]; Schizoid Man EP; KCCC10;
Red; Young Persons' Guide to KC; KCCC11; Discipline; Beat; KCCC4; TOAPP;
Sleepless: Concise KC; Heartbeat: Abbreviated KC; Absent Lovers; Frame by
Frame; KCCC8; Vroom; B'Boom; Thrak; SSEDD single; KCCC 5/6; THRaKaTTaK;
[KCCC13]; P2 Space Groove; P1 Live at Jazz Cafe; Cirkus; P2 Live Groove; P3
Masque; KCCC7; P4 West Coast Live; TCOL; PX Heaven and Earth; [BTV
recordings of TCOL tour]

If you follow criteria 1-5 strictly I'm sure you'll find that I've made
errors, so corrections by ETers are welcome. Excluding USA, KCCC12/13 and
the BTV recordings, that list comes to a mighty total of 41 CD releases
(some of which are 2CD and 4CD sets)! I'd be interested to know how many
hard-nosed (and financially solvent) ETers own the lot. I also recognise
that many of us are looking forward to the day when the 24 bit remasters of
the first 10 studio albums have all been released.

For myself, I only own a tiny fraction of this list, and unless I win the
lottery tomorrow I'm going to be building up my collection very slowly. But
it's more fun that way, watching the pieces of the puzzle fall into place,
and at the same time atching the puzzle grow with the release of more
material. I'm particularly excited by the fact that bootlegs, which I
consider morally redundant in any case, are increasingly rendered
practically redundant as the list grows. More than ever before, there is no
reason to buy unauthorised KC recordings.

------------------------------

Date: Thu, 20 Jul 2000 08:59:38 -0400
From: "baxlap" <baxlap at email dot msn dot com>
Subject: Moles/bargain price

I just renewed my KCCC membership and received the Moles CD the other day.
Sure, the sound quality is mediocre (probably from a cassette made on a
portable), but, then again, the target audience is collectors, who are more
likely to tap into the historic relevance of the performance. The average
purchaser is clearly better off with Absent Lovers (or KCCC4), but, for the
target audience, Moles is a fascinating look at a now-much-loved band in
its formation. While the instrumental work is superb, Moles is Belew's
first gig as front man of a major band.  Hence, his vocals are somewhat
tentative in spots (Theta Hun Ginjeet). However, its interesting to compare
this performance with later ones by this lineup and the double trio.

While in Tower Records near Tysons Corner, Virginia USA on Saturday, I saw
about a dozen copies of TCoL on sale for $8.99.  My suspicion was that they
had been marked down because the album isn't selling. Not that it ought to
matter, but does anyone have any idea how TCoL is selling?

Andrew Baxley

------------------------------

Date: Thu, 20 Jul 2000 07:59:57 -0500
From: "Aaron P Deglanville" <"aaron_deglanville"@uhc.com>
Subject: Mr. Bungle (and Bjork)

Bungle rips.  They are in my opinion one of the three most significant
bands in current existence (the third being Phish).

But I did just read an interview with Bungle's guitarist (Trey Spruance)
that irked me a little on KC's behalf.  The interviewer actually asked if
they would consider touring with someone like, say, Bjork (!).  Trey said
(this is almost verbatim): "Here's a game for you: try to think of just one
group bigger than us that would be good for us to tour with."  I suppose
one could take this in various ways, but it seems to suggest that no one
better known than Bungle are even in the same league in terms of innovation
and technical prowess (how's that for a potentially liberal interpretation?
Don't hate me, Trey).

Game over.  King Crimson.

Talk about a dream tour!  How about it???

aa

------------------------------

Date: Thu, 20 Jul 2000 15:04:05 GMT
From: "Jon Benfield" <jaxlad at hotmail dot com>
Subject: Howard Stern Covers Crimson

Did anyone hear Howard Stern's band "The Losers" cover "In the Court of The
Crimson King"? It is very true to the original, believe it or not. email me
and I'll tell you how to get it.  ps...I think TCOL is the best album ever
made under the name King Crimson, and I'm sure I will get lots of hate mail
for this...bring it on!

------------------------------

Date: Thu, 20 Jul 2000 10:06:37 -0500
From: "GONZALEZ, MARC" <MARC dot GONZALEZ at scppool dot com>
Subject: Flash Photography

Maybe the reason flash photos disturb Fripp so much is because he wears
glasses. I'm sure those flashes are intensified reflecting off his
spectacles and really messes him up when playing those complex guitar
lines.

I have been playing Project X using the surround sound setting on my stereo
system and it really enhances the sound; especially in the 3D mode.

Marc

------------------------------

Date: 20 Jul 00 09:55:11 MDT
From: claus dot poulsen at usa dot net
Subject: What now?

Hello everybody!

Just read the Fripp diary of wednesday: "the 3 piece KC" Does anybody know
what this is about?

/kclaus

------------------------------

Date: Thu, 20 Jul 2000 12:24:41 -0700
From: "Michael Britt" <johnnyroman at flashmail dot com>
Subject: One last word about Bjork

being one of the first to reply to this subject, I just need to throw in
that I never really thought Bjork could sing for KC, what I meant was that
if KC played the music for a Bjork song or album.  Just wanted to get that
out.

mike
http://pulsate.org/dusk
http://mp3.com/duophone
It's Free, Easy, & Fun !!!

------------------------------

Date: Thu, 20 Jul 2000 14:05:58 PDT
From: "alexis rondeau" <giantalex007 at hotmail dot com>
Subject: the tour suck!

        The current King Crimson tour suck because they are not playing any
of the old classics. And they are not playing any of those timeless
classics because Robert Fripp's motivation is greed.

        Euh...

        Does anybody on ET really beleves that?

        Surprisingly ennough I can think of about fifteen reasons why King
Crimson didn't play old songs on their last europeen tour. Most of them are
good.  None of them can have a negative impact on all the fun that I will
have when they do come to Canada. I will share my favorites with you.

1-Robert's taste in music have changed.
        Well my taste in music have changed a great deal in the last five
years and most of the cd's I bought in highschool have been gathering dust
for two or tree years...  I would imagine that musicians are not any
differents from us. Robert probably finds some of the old stuf pretty
boring.

2-Adrian may not feel confortable signing Sinfield or Palmer-James's lirics.
        No, I wouldn't want to be signing about Lords and Kings, Fire
Wiches, Cavalery and The Almighty in 2000. I would feel pretty silly.

3-Most of the old stuff would really sound bad.
        I beleve that songs written with flute and mellotron in mind may
not sound so good with soundscape and v-drums. This became really obvious
to me when I listened to the Nashville show on Btv. Some of the TCOL stuff
was really improved (Frying Pan) but most of the double trio stuff didn't
work out so well. I felt like Dinosaur was a total disaster and boy I did
miss the double drumming!

4-This would keep them from ProjekcXing so much.
        Some of the work in progress would have to be left out indeed. So
that means that we could miss the Heaven and Heart experimentation leading
into a cccSeazureccc pocket that grooves until Pat programes the172
Hippothalamus drum sample to let Adrian surf on the Angry Rhino pocket
worked out by P3 while Robert was soundscrapping a bowed upright bass
sound... Ouf!  --WARNING-- This is the kind of vocabular you may encounter
if you read Pat's diary!

        I'd rather hear this noise coming from the current lineup than
Clearance and Cascade by the same folks.

5-Heros is the old classic this time around :>).

        However, I do agree that there are a few old songs that could be
worked out into something fun. Mostly from the eighties I would think. Keep
tune. It might still happen.

Alx

P.S.- If you are desesperate for an old KC song I recomend you catch the
CGT+Tony Levin when they go back on tour together in September. Elephant
Talk with Tony and Idaho on vocals is a stunner : )!

------------------------------

Date: Fri, 21 Jul 2000 11:38:11 -0400
From: "Peter Shindler" <shindler at mediaone dot net>
Subject: Bjork & other female singers

Hey, I'm the guy who started all this.  In a post regarding the Projekct
box, I suggested that P3 would sound even more incredible if they had a
singer who could improvise along with them, and gave the examples of Mike
Patton and Bjork.  I posted that back in November, if memory serves.  I
can't believe anyone remembered that!

The guy who compared Bjork with Brittney Spears has obviously never heard a
note of Bjork's music.  (start with "Homogenic" or "Post")

Other females who'd fare well in some sort of collaboration with Crimson or
Projekct something-or-other: Diamanda Galas, Lisa Gerrard, (I get
goosebumps thinking about either of them doing their thing over a really
dark soundscape), Polly Harvey (just imagine her fronting KC through "Sex
Sleep Eat Drink Dream"), Sheila Chandra (her vocal percussion and chanting
would fit right in with the Projekct X stuff), and I can't help thinking
that Tori Amos could do great things with "The World's My Oyster...".

Peter

------------------------------

Date: Fri, 21 Jul 2000 17:19:54 +0100
From: Sandy Starr <s dot starr at cScape dot com>
Subject: Responses to recent ET posts

Gnad Markus <MGnad at rundschau dot co dot at> writes:
>>Yes, INDEED. One day before KC would have had to hit Linz (Austria),
Einsturzende Neubauten played at exactly the same venue.  God, this was the
greatest concert I have ever seen in my life. I have never ever had heard a
song from them and was only curious.  It was - brilliant. And they played
Headcleaner.  I subsequently bought Silence Is Sexy, which is a remarkable
piece of work.<<

You lucky sod! I've never seen Neubauten live. They played in London shortly
before KC, in June, but I was busy and broke and had to pick one concert, so
KC it was. I haven't heard Silence is Sexy yet, but I thought their last
album, Ende Neu, was incredible.

ETers who have no idea what I'm talking about, suffice to say that
Einsturzende Neubauten are a German band who have been pushing back the
boundaries of art and music since 1980, initially through use of industrial
machinery and later in more serene settings. It would do neither KC nor EN
justice to say that the two bands were _similar_, but suffice to say that
thay explore new musical territories in a similar _spirit_. The moment in
the KC Live in Japan 1995 video where Adrian takes a drill to his guitar
during Thrak is very Neubauten.

Gnad Markus <MGnad at rundschau dot co dot at> then writes:
>>I am NOT Robert Fripp, but I can speak from my own experience. And I think
it ends up very similar.  The Past Can Be A Bitch, A Dirty, Ugly, Evil
Bitch. If the past is something which haunts you, connected with
not-so-pleasant memories, then you are likely better off not letting the
past be relived again. Let me analyse: For Robert Fripp the King Crimson
past was not the best one. How did he state: Most of his life as a working,
professional musician is depressing.<<

Markus makes an interesting point here, which is that RF's history as a
working musician is largely, and certainly with KC, one of working against
the odds in uncongenial circumstances. I don't think it does credit to RF to
suggest that this is _why_ KC don't play older material - I should imagine
RF is capable of judging the suitability of a piece of the KC repertoire on
more objective grounds than that.

Gnad Markus <MGnad at rundschau dot co dot at> then writes:
>>Genesis is the second best band in the world. Their musical evolution is
maybe sad, but then, it is what the band decided to do. And I hear the
progression still - either on "Driving The Last Spike" or on "There Must Be
Some Other Way". Although I miss Tony's striking stunning melancholic
Mellotron chords.<<

I think I know what you mean Markus, there's an essence of what's wonderful
about Genesis that's seeps through even into their later work (e.g. 'The
Brazilian' on Invisible Touch). But personally, I cease to enjoy listening
to a band when I feel that I have to justify to myself why they still have
some magic. Why fish around for treats in new material when I can listen to
The Lamb Lies Down on Broadway, which is perfect and will be perfect
forever?

Jeremy Robinson <jrobinson at crescentmon dot org dot uk> writes:
>>Good to see that the post I sent a few days ago on serious critical
writing on prog rock has produced a discussion of various bands and whether
or not they can be classed as 'progressive'. As to a definition of 'prog
rock', that's difficult, but here are some suggestions for aspects of what
might constitute 'prog rock':<<

I don't know about anybody else, but I found Jeremy's list very funny. Yes,
'prog rock' is in its essence precious, obscurantist and elitist. The fact
it spawned some great music in the 70s is a Good Thing, but I think it
telling that the  people still around from that time who still make great
music tend to be those who aren't overly attached to the 'prog rock' label
(e.g. our old favourites, KING CRIMSON).

"Jon Benfield" <jaxlad at hotmail dot com> writes:
>>Did anyone but me catch Howard Stern's band "The Losers" performing In The
Court of the Crimson King? Is HILARIOUS and strikingly true to the
original.<<

I'm sorry that I missed this. I love old KC music, don't get me wrong, but
the combination of Pete Sinfield's lyrics and the earnestness of hirsute
young musicians sometimes results in something as funny as Monty Python. I
got drunk with a friend once and listened to the version of ITCOTKC on the
Cirkus compilation, and we fell about laughing every time Greg Lake sings
'aaaaaah' on the chorus. To be fair to KC, it wasn't quite as funny as when
me and my friend got drunk and listened to 'Grendel' by Marillion. But
that's another story.

MongoBoy at aol dot com writes about support acts for KC:
>>Good suggestions however, XTC does not tour an Soundgarden broke up.
The Trey Gunn Band would smoke!  Get the new album if you haven't done so.<<

Good god man, I love Trey's work as much as the next man, but are you
suggesting that the poor bugger play all night? :-)

Actually to my shame I haven't bought the Joy of Molybdenum yet, but The
Third Star still gets a fair few spins in my CD player. Also, what I _have_
bought by Trey is Raw Power, available on the First World label. Fantastic
stuff! Two tunes on it feature trumpet and really bop along nicely. Now I'm
going to have to get The Repercussions of Angelic Behaviour (especially
after reading the hilarious sleevenotes on the First World site, at
http://www.firstworldmusic.com).

Craig <v-dorje at ticnet dot com> writes of Miles Davis:
>>it`s not him personally, it`s his music that deserves the adulation. If
you think not, that`s your right, of course Maybe if you had ever worked
with him?  Maybe if his music was an 'epiphany' like it can be for so many
others?<<

Hear hear, Craig! Moral criticism of artists does not constitute moral
criticism of their art. In every sphere of the arts brilliant work has, and
will continue to be, made by moral reprobates. The most controversial case
with regard to this is Richard Wagner, whose music is still banned in Israel
because of Wagner's anti-semitism. With Wagner the question is compicated by
the fact that some people claim that anti-semitism is _inherent in the
music_. The best response I've heard to this was that it legitimises
Wagner's own position, by assuming Jews to be incapable of appreciating the
merits of his music.

------------------------------

Date: Fri, 21 Jul 2000 10:19:57 -0700 (PDT)
From: jan geerts <forimul at yahoo dot com>
Subject: Ze mystery bass in Portugal?

Hello,

this is a strange one : I'm answering my own question here.  It has bugged
me for some weeks (not sleeping, losing weight, shredding papers...:)), but
mere hours after I'd sent the post, I realized the answer : the upright
bass in the P2 picture, is probably from the double headline gig P2/BLUE.
Man, what a night that must have been.

Another strange thing : there have been some mix-ups in the titles vs
writings in the last ET. If we (posters) are wearing you down, please say
so:)Toby.  I wouldn't want to drive you into a ProzaKc Blues.  But
really,thanKs for the work, man.  (And I'm giving you some more here, sigh,
waddayagonnado?)

[ I'm sorry if there have been any mix-ups. I wasn't aware of any. But they
  do sometimes happen. You wouldn't believe the amount of processing
  (automatic and manual) required to turn 25 raw emails into a formatted
  ET! Well, you might! -- Toby.]

Ta

Sound Mind

------------------------------

Date: Fri, 21 Jul 2000 13:36:07 EDT
From: NotoriousAWOL at aol dot com
Subject: TCOL working for you yet?

Just going over some fantasy football ratings (draft in two weeks!) when
the killer ending of "Frying Pan" blasting from the monitors got me again.
"Let me drop another line to those (we) ET cretins to see whether any have
resolved the conflict between their KC ( you know, the one in your head
that is part old music, part nostalgia for the life you had when that music
was discovered, original critical assessment of that music and your life
then, revisionist history of both, blah,blah blah OK I'm out of mushrooms
so let me get out of this parenthesis ) and the real one ( new music made
by strangers who have made some cool music over the years ). I remember
reading one guy: "Still waitng for the REAL King Crimson!" Geez. I have a
theory with respect to the dissapointed using some of Fripp's philosophy
which I have incorporated into my life and it goes something like this;
There has been music inside you before that KC has played and you expected
that to happen again. It didn't. Perhaps it is for someone else to play.
Perhaps you.  Perhaps it is still waiting for the right time to be heard.
Perhaps, if it doesn't find the right instrument ( most likely you ) it
will never be heard.  But don't blame KC for that. It's message is coming
through Fripp et.al.  quite nicely. Now go look for that music you hear. Of
TCOL ask yourself ; "Is this true?" Well, is it? Sure it is. OK, now being
a working class guy I've gotta get back to relating to my peers. Think Fred
Taylor will slip to the fifth pick in the first round? Hope so. In any part
of our lives, my fellow disciples, ask yourselves: " Is this true?".

------------------------------

Date: Fri, 21 Jul 2000 00:46:23 +0200
From: Ferran Nogues i Tolnay <jaduarte at intercom dot es>
Subject: GIG REVIEW: Bill Bruford's Earthworks live in Barcelona

Bill Bruford's Earthworks (& Larry Coryell) live in Barcelona July 17
2000

The venue was a very small club called the Jamboree. Two sets, at 21.00 and
23:00 h. Sold out. Saxophonist Patrick Clahar was absent. I saw the second
set. The set: several Larry's songs (including a solo rendition of George
Harrison's "Something"), a Thelonius Monk song called Trinkle Tinkle, only
two or three songs from A Part And Yet Apart, and "Bridge Of Inhibition".
Fragments of improvisation and jamming. A very joyful mood. Everybody
happy. Constant jokes. I saw Earthworks in Barcelona before they recorded A
Part And Yet Apart, and the evolution of some of the songs from this album
live is evident and strong. The drums were not amplified so we could listen
to all the details of Bruford's playing that usually people miss due to
awful acoustics and amplification. Some camera flashes. No problem. There
was no artists exit door, so the band walked among the audience. People's
behaviour was very respectful.  Nobody (I saw) called for an autograph.
Nobody shouted "Red". Everybody enjoyed the show. Talking about drumming, I
saw examples of independence between feet and hands that I had only seen
Weckl and Chambers do, since that day. Bruford has a very priviledged mind,
getting better and wiser day by day. And he still "rocks". Some fragments
of the concert almost made people dance. Innovation and experimentation in
percussion can be done perfectly with acoustic drums (it's an obvious
statement but some people still don't see it). When the concert was over,
Bill himself helped to pack the drums! A very friendly attitude always gets
a very respectful response. Freaky attitudes may get freak responses from
fans.  Earthworks are about to record their second album with the present
incarnation, and have recorded some recent concerts for a possible
Earthworks live album.

Ferran Nogues (Barcelona)
http://www.usuarios.intercom.es/jaduarte/

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End of Elephant Talk Digest #716
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