Errors-To: admin at elephant-talk dot com Reply-To: newsletter at elephant-talk dot com Sender: moderator at elephant-talk dot com Precedence: bulk From: moderator at elephant-talk dot com To: newsletter at elephant-talk dot com Subject: Elephant Talk #799 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 799 Saturday, 20 January 2001 Today's Topics: Re: It Must Be Hard To Be A Rock Musician Re: Eno in Movies ANNOUN: Heavy ConstruKction for Mac OS page A band is judged by it's Groupies! Re: Notes from a young Crim Enthusiast Re: Use of "brass" eno in film Young Enthusiasts (why do I think of Bowie after looking at that phrase...?) Eno in film Re: Why does it taKe so long to liKe it? => "rolercoaster music" Mistranslations/misprints trivia question Re: Remastering and new digital audio formats Re: Eno in film Crimson/Eno in film cont. RF and Eno in films further Eno movie note play Daryl Hall Re: use of "brass" Re: Eno in the movies Re: KC posters Jazz Cover of Matte Kudasai ------------------ 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.shtml 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 v3.7b (relph at sgi dot com). ------------------ A I V I R T S I N I M D A --------------------- Date: Wed, 10 Jan 2001 07:27:05 +0100 From: "arkaengel" Subject: Re: It Must Be Hard To Be A Rock Musician Geoff wrote: > I'd just like to discuss a little judgement I have made. The > judgement is that being a Rock Musician is very hard. > Both Physically and Mentally. Yep...all that effort swinging the dung-encrusted stick to keep the free sex and drugs at bay... Seriously though, looking at the likes of Keith Richards one would think it's the world's most demanding job. Or Phil Taylor, though I'm told he's always looked that knackered. But still...being an emergency ward medic is very hard. Being a garbage man is very hard. Hell, any kind of menial, low-pay or high-stress job is very hard if you look at it that way. It's odd that these folks get precious little sympathy. Don't get me wrong, Geoff, I'm not ragging on you. It's just that I'm not going to cry the blues for people lucky enough to be able to make a living doing what they love as long as there's roughly ten thousand times as many people doing soul-crushing work for a pittance. This isn't a rag on KC or RF either - more power to them, may they long continue, etc. Hmm...my first post to this list. If it weren't six AM I think I'd have a drink to celebrate. ------------------------------ Date: Wed, 10 Jan 2001 14:23:56 -0500 From: Michael dot Russell at mercerdelta dot com Subject: Re: Eno in Movies In reply to Oidman at aol dot com who asks: "Wasn't there a movie called Breathless that starred Richard Gere with music from the same (not sure if it was a Fripp or Eno or both collaboration)." . . . The music was "Wind on Water" from Fripp and Eno's "Evening Star". The film itself was a remake of an earlier film by the same name. That RF also has an electrifying beast of a solo LP of the same name which still finds its way regularly to the turntable after almost 22 years is a coincidence. ------------------------------ Date: Wed, 10 Jan 2001 13:41:05 -0600 (CST) From: david craig Subject: ANNOUN: Heavy ConstruKction for Mac OS page Folks- As many of you are already aware, some Mac OS users had difficulty accessing the outstanding video footage on disk two of Heavy ConstruKction. Bill Chachkes and I have worked together to compile solutions to these problems, and have collected together what we know on the Heavy ConstruKction for Mac OS page: The page will be updated as new information becomes available. However, we have had great success with the solutions described on the page, so we hope that your problems have already found there solution there. (If not, there is a link to provide active feedback to us, and we will do our best to help you.) Please note that this is an entirely volunteer effort, and Bill and I are not associated with DGM in any way. However, we would like to gratefully acknowledge the gracious attention and assistance of DGM, in particular the time and energy of Toby Richards and our very own Dan Kirkdorffer. We would also like to acknowledge those Mac OS users who took the time to test out various of our schemes to get this thing working. This was truly a team effort, and we thank everyone who helped out. David Craig Bill Chachkes ------------------------------ Date: Wed, 10 Jan 2001 15:09:09 -0500 From: "Caruso, Josette" Subject: A band is judged by it's Groupies! In the early 70's King Crimson attracted only the BEST Groupies! Not only were we sexy ladies, we were smart! My dear friend of over 30 years, Cookie,who married Richard Tandy from Electric Light Orchestra,remembers Fripp with fondness as being shy! MY memories are VERY different!I funny story involves drummer Ian Wallace....and another one concerns Carl Palmer.....you'll read about these adventures soon enough. But, King Crimson has now arrived at GROUPIE CENTRAL! The girls are chatting about Trey, and that's a VERY good sign! http://www.GROUPIECENTRAL.com Kisses....Josette ------------------------------ Date: Wed, 10 Jan 2001 18:11:52 -0300 From: "Ezequiel Guerrero" Subject: Re: Notes from a young Crim Enthusiast Dear Geoff, As a young person (I m 22) and young Crim enthusiast (listening the Crim for no more than two years) I can relate pretty much to your first post. Actually, THIS is my first ET post, and you triggered it. A friend of mine introduced me to the band. He has always been as much a musichead as I am, but he tends to dig out more music than I do. First CD I listened? Discipline. The homonimous song caught me up almost instantly. Those crossing patterns!! Those "almost" random drumbeats!!! I thought that was incredible, but the rest of the CD what too much for me at that moment. As a guitar player, I ve always loved the way two guitars can complement each other s weaknesses, and create incredible melodies, so I guess that explains why I loved that song immediately. Anyways, he kept bringing KC CD s, and I kept "bouncing" them, until THRAK came in. I though that one was very powerful, but still too sick for me. I just couldn t digest it! It s my experience that I need to be "ready", to get into certain aspects/variants/types of music. It s a slow process, and I don t really understand it s modus operandi yet, but it tends to work that way for me. Obviously, once you ve discovered that certain "something" in a band, you like to share it with people close to you, and there comes the preconceptions, expectations and prejudices YOU TOO had when your friend played the CD for you. As Robert would say, "expectation is a prison". A prison I would like to get out from in many aspects of my life, because it closes my MIND to what is happening in the moment. So I think the best way to get other people to like a band like KC is to let it be... you can t force it. I can also add that the more you push them, the more negative effect you ll get. Eventually, they ll knock at your house s door and ask you to lend them those "weird cd s you are playing all day long". It must be a natural process, and if they are ready and willing, it will happen. Sincerely greets you from Argentina, Ezequiel Guerrero ------------------------------ Date: Wed, 10 Jan 2001 17:12:38 -0500 From: "Bailey, Jim" Subject: Re: Use of "brass" >Date: Fri, 05 Jan 2001 21:35:35 -0600 >From: Craig >FYI: The saxophone is *not* a brass instrument. It is a reed instrument >(like the clarinet). >Brass would be trumpet, tuba, trombone, etc. Perhaps we should be more careful with our definitions. Most of the saxes I've encountered have been made of ... um ... brass. I know there are a few exotic types made of some bizarre plastic or other, and even a guy in Jamaica who makes them out of bamboo, but these are rare exceptions. A better definition would be to say that it is not _classified_ as a brass instrument, but as a reed (much in the same peculiar way that a piano is classified as a percussion instrument). Instruments are usually grouped according to the method by which notes are sounded; e.g. the "brass" instruments you mention are all played by making a rude farting noise (somebody once told me it's technically called a "bilabial fricative," but don't quote me on that - especially the spelling) into a convoluted metal hose. Just another instance of confusion over what to call something - much like the case of music by that weird group King Crimson. ;-) Now that I've succeeded in making things as clear as mud... Jim Bailey ------------------------------ Date: Wed, 10 Jan 2001 17:28:40 EST From: JStraw8369 at aol dot com Subject: eno in film heya folks. must say that i have been a passive audient of the newsletter for some time. one oversight -- i apologize if its been noted --that prompted me to my feet, however, is the use of the eno/byrne Bush of Ghosts collaboration in the film Wallstreet. America is Waiting, as well i think as a few other tracks are used prominantly. love the letter. love the band. ------------------------------ Date: Wed, 10 Jan 2001 17:52:11 EST From: GenoTT at aol dot com Subject: Young Enthusiasts (why do I think of Bowie after looking at that phrase...?) >there are no easy answers unfortunately to initiating an individual to the >joys of great music. True. I've become an enthusiast for Crimson (among many other groups) largely by approaching new music with a "give this a try see what it's like" attitude. I've had no success in introducing KC to anyone else, mostly because almost everyone I know has a mentality toward approaching music more along the lines of "how much does this resemble what I like/expect/want to hear?" Fripp is absolutely correct on this point - expectations simply close doors; letting go of expectations opens so many more. >So all you can do, is stick to your values and your likes... and just hope >you find a friend with equal tastes with whom you can spent countless hours >of listening pleasure with. All I can add to that is - good luck and be very, very patient. I've been listening to this stuff for over 4 years and I have yet to find one person close to my age (21) who can stand hearing it for more than a few minutes. Well, we can all dream, can't we.... -g ------------------------------ Date: Wed, 10 Jan 2001 18:01:30 -0500 From: Vincent E Daniel Subject: Eno in film Greetings Crimnologists, Eno along with Daniel Lanois and Roger Eno did the soundtrack to the Apollo moonshots . It was released as as Apollo , Atmospheres and Soundtracks. Also the movie Wall Street with Charlie and Martin Sheen featured two tracks from My Life In THe Bush of Ghosts. I think it was America is Waiting and Mea Culpa that were used. Vince Daniel ------------------------------ Date: Wed, 10 Jan 2001 23:58:57 +0100 From: bart at unheard-of dot com Subject: Re: Why does it taKe so long to liKe it? => "rolercoaster music" Hi, About 2 months ago, I rediscovered KC again. It was kind of a 'nostalgic' experience. Wen I was younger, about 2 decades ago, I liked the 'Red' and 'Starless and Bible Black' albums very much. Back then, I didn't experience any of the catch-up lag. The newer albums like eg. 'Thrak' had the effect indeed. I first listened to it in the shop and decided not to buy it. The reason for this however was that it was to much main-stream, at least that was the first impression. Which proved wrong after listening to a track from it I came across at Napster. So I decided to buy the record some time later. But I guess this is for opposite reasons .... I got the projects box 2 weeks ago, without listening first. It became quite a disappointment. I just can't follow it, the balance between improvisation and planned arrangements is gone for me. To much chaos, not enough melody. Maybe I will put it away somewhere and listen to it again in a few month or so, but I guess this won't help ... :-) But who knows ... at least I will not sell it (yet) .... One thing is sure: KC (and some others) did find a format of making good music by not complying to 'hypes of the moment', but just keep on doing what they like themselves. If you could call that a format, probably its just the lack of a format which does the trick. This assures compositions with a very low level of compromise surely not liked by the masses. No grey and flat tunes, but something on the complex side you should really listen to, not for background purposes. I would call it 'rolercoaster' music in contrast to 'elevator' music; sometimes almost literally like in VROOOM :-). Sorry for my not so good english today; couldn't find my dictionary .... Regards, Bart. >tim church wrote: > >A long time ago, I remember reading an interview with Mr. Fripp in which he >mentioned that he thought it took about TWO YEARS for the average listener >to catch up to whatever new musical territory he was travelling in. I have >always kept this idea in mind, whenever I'm not sure about challenging new >music. > >I consider myself pretty open-minded regarding new music, but it still >happens. For instance... ProjeKt Two disappointed me so much that I sold it >to a 2nd hand shop. I just didn't like it at all. This Christmas, my >brother gave me 'The ProjeKts' boxed set. And now I love that very same > >music! 'Thrak' hit me the same way. And now I feel similar feelings about >'The ConstuKtion of Light'. But it's growing on me. > >I know this has something to do with my prejudiced expectations. But... >Why is this so? Is this a necessary fact of life? It must be hard on Fripp >and friends, to always be a couple of years out of sync with the >world... being on the 'Perpetual Cutting Edge', as they are. > >tim church ------------------------------ Date: Thu, 11 Jan 2001 02:25:16 +0300 From: "Igor Zolotaryev" Subject: Mistranslations/misprints The cut-and-paste intro - long time reader, first time writer... I could not resist submitting the ultimate KC misprint of all time. Well, as you are all so well aware, Russia is a pirate CD country (and for a good reason, too: most people are getting salaries in the neighborhood of $5 to 50 a MONTH, so when you figure out how you still afford to buy anything outside bread, please contact me)... and in May I found the new KC called COL with the most exciting personnel list that included some guy named robert tripp... I was thinking of buying it and sending to the close namesake but figured that this would upset him and then Russia's mail service is little short of piracy as well. Peace to all, Igor ------------------------------ Date: Wed, 10 Jan 2001 19:38:37 -0500 From: "Dan B." Subject: trivia question Getting back a bit to 'Shakti' and the discussion of Indian music from a few E-T's ago, here's a trivia question: Which CD features Robert Fripp on guitar (& Frippertronics) along with Indian musicians Ustad Sultan Khan on sarangi, Pandit Dinesh on tabla & Nitya Mohan on tamboura all performing on the same song(s)? Big Easy Clue: Trey Gunn also plays Stick on this album on the same tracks. -- "But as far as I know, they may be trying to wrap me in cellophane and sell me; brothers help me, and don't worry about looking at the score." -- Jimi Hendrix ("Somewhere") ------------------------------ Date: Wed, 10 Jan 01 21:54:29 -0000 From: Michael Hackett Subject: Re: Remastering and new digital audio formats I too am looking forward to the new DVD-based audio formats, and I think the 24-bit remastering work done for the new KC CDs will probably make it easy to produce DVD versions when the time comes. (Assuming, too, that the transfers were done at 96 or 88.2 kHz.) A couple of clarifications on Brian's points, though: >Currently only a few "audiophile" record labels are issuing discs in the new >format. Sony has been issuing SACDs for over a year (though mostly of old "classic" albums, not much new stuff), and the majors are just starting to release some DVD-A discs in last month or so (I've seen several at a local HMV, even way out here in eastern Canada). I'm not sure whether these use the dreaded "watermarks", though (Sony does not, but I know the others plan to, yet I don't think the technology has been chosen yet), so I'm not jumping in just yet. Hopefully DGM will not be so foolish. >These discs contain two data layers and are playable on conventional >CD players, but not to their full advantage. I believe only the SACD format is designed for dual-layer use, though I'm not sure why it wouldn't be possible with a DVD-A (maybe just a software thing). I have just read about two-sided DVD-As, though, with the CD on one side and the DVD data on the other. (I guess that precludes disc art. :-) ) >Only a few equipment >manufacturers are making SACD and DVD-A players. These players will play >conventional CDs (with "upsampling" to improve the sonics) but are still >quite expensive and not readily available. DVD-Video players will, of >course, play DVD-A discs at full resolution, I don't believe this is the case. DVD-A is a new format, and existing players will not read all the encoding formats used. However, many current releases include a DVD-Video-compatible track as well (DTS or Dolby Digital, IIRC), so many will work on both types of machines, but the older players will not have access to the highest-quality audio tracks, where available. >but presently many of the >mass-market models suffer from inferior D/A converters and analog output >sections. This is very true. And unfortunately, almost none will pass 96/24 data through the digital output (where one is even available), so one can't use an outboard processor to improve things. (The record companies are so paranoid about people making digital copies, that the hardware manufacturers had to make such concensions to placate the software makers.) I know most people are perfectly happy with CDs (and few CDs these days use even a fraction of the full capabilities of the format), and I wonder whether there is really much demand for DVD audio outside of the audiophile community, but many of the more picky artists seem to be very impressed, so I figure that there must be worthwhile there. -- Michael ------------------------------ Date: Thu, 11 Jan 2001 14:12:57 +1100 From: "dwane byrne" Subject: Re: Eno in film Folks, With all this talk of Eno in films, I'm surprised that no one has mentioned the most obvious one K. Jarman's 'Jubilee' with Eno's 'Slow Water' and 'Dover Beach.' Shame on you Crimheads! regards, Dwane Byrne ------------------------------ Date: Wed, 10 Jan 2001 23:16:54 -0500 From: "jesscott" Subject: Crimson/Eno in film cont. Crimpeople: I don't know why we are discussing this in ET either other than it is fun. I didn't expect the flurry of responses. To Bruce H. (or was it Robert S?): I didn't notice the cover of Before and After Science in HIGH FIDELITY; where was it? I was too busy watching to see if the Discipline record got BOUGHT. I love Greenaway; I'll have to check out Eno in THE FALLS. And to David Vella: I distinctly remember the Creation of the Universe documentary in the mid '80's. Only saw it once, but the Eno & Byrne stuck in my mind. I'll have to see if this is available somewhere, although we have learned a lot about cosmology since then. I am also a Steven Hawking fan, and your mention of him reminded me of something. When I saw Crimson recently in Chicago and Cleveland, I remember an improvisation (markedly in Chicago) where they were piping in a voice synthesizer that sounded very much like that computer Hawking uses to talk. In fact, I was writing down the set and when this was playing and wrote Hawking Jam. Anyone know what this was? I'll have to see if it is on Heavy ConstruKtion when it comes next week. (Also, I thought a great merger of cosmology and music was Philip Glass doing the soundtrack to A BRIEF HISTORY OF TIME.) And Enoboy: I seriously doubt that Eno had much to do with the DUNE movie music other than that theme. I don't think he actually performed any of it. It was more name dropping, considering the rest of that crap was Toto. I think that movie is unfairly maligned. It's biggest fault was trying to cram a 600 page book into two hours. It (& the sequels) would make a better series on the SciFi channel. (In my mind the worst SciFi film I've seen recently was that load of feces called EVENT HORIZON. Even a King Crimson soundtrack could not have saved that one.) As far as Oidtman's remark about Gere's BREATHLESS movie goes - yes, it was a remake of a French film I believe, but I have never heard mention of this reference to the Red-like tune Breathless. It got poor reviews, so I never watched it. (Perhaps I should.) Jonathan's mention of The Oblique Strategies deck in the film SLACKER, sounds interesting. I will check this out. This brings to mind the fact that I tried to get the deck off and on for about five years in the '80s with no luck. Anyone out there who can help with this, please write. And that Eno/Mills artwork/lyrics/explanations book (More Dark than Shark?) went out of print as soon as it came out, much to my chagrin. Later... (P.S: Ray Weller - if you read this newsletter you should e-mail me!) Matthew K. Smith ------------------------------ Date: Thu, 11 Jan 2001 15:22:24 +1100 From: "dwane byrne" Subject: RF and Eno in films Folks, I'm not sure why this question is causing such a fuss. Simply go to http://www.allmovie.com search for RF and 'Brian Eno' and you will have all the info you could want. (Mind you, they don't mention the wonderful 'Dogs in Space' unfortunately). regards, Dwane Byrne ------------------------------ Date: Thu, 11 Jan 2001 00:01:06 -0500 From: "jesscott" Subject: further Eno movie note I should have looked this up while I was writing my last post. Nevertheless, Videohound's Golden Movie Retriever 2001 edition lists three films Brian Eno did the music for: DUNE, which is partially incorrect (see previous note on Toto), and two others - LAND OF THE MINOTAUR, '1977. Great synopsis here: "Small village is the setting for horrifying ritual murders, demons and disappearances of young terrorists..." and, SEBASTIANE, 1979. "An audacious version of the legend of St. Sebastian, packed with homoerotic {?} imagery and ravishing visuals..." I wonder who, if anyone plays with him on these soundtracks?? They are on VHS, but no DVD. Matthew K. Smith ------------------------------ Date: Thu, 11 Jan 2001 06:30:40 From: "Dan Ceo" Subject: play I noticed recently that someone was listening to some KC in chronological order (forgot the name, sorry). I just got a brand new Chevy Tracker and I have been testing out the new CD player with stuff like "Lifehouse Chronicles," "Who's Next," "Disraeli Gears," "South Saturn Delta," "Kill 'Em All," and "Heavy ConstruKction." The sounds have been incredible; I've never had a factory-made stereo that sounded this good before. I live in Michigan and since it's a 30-45 minute drive from where I live (Brooklyn/Jackson) to where I work (Saline) I'm definitely planning on listening to the entire Crim catalogue in true chronological order: In the Court of the Crimson King Epitaph In the Wake of Poseidon Lizard Islands Larks' Tongues in Aspic Starless and Bible Black Red The Night Watch (haven't been lucky enough to find "The Great Deceiver" box yet) Discipline Beat Three of a Perfect Pair Absent Lovers VROOM ThraK B'BOOM ThraKaTTaK P-2: Space Groove The ProjeKcts Box ProjeKct X: Heaven and Earth The ConstruKction of Light Heavy ConstruKction I was just fortunate enough to find the Deja VROOM DVD in Ann Arbor's beautiful Briarwood Mall. It's simply amazing! Then again, I don't know if I could expect anything less from these guys. They've never let me down in the past year! I can't wait to see what else comes up in the furtive and sporadic plans (yes, I know, I've just made an oxymoron) of Crim the Great. Long Live The King! or to quote Pete Townshend, if I may: "Long live Rock, be it dead or alive!" Dan PS-I do believe in the recent Frippery. Being a drummer and former theatre student, it has always been in my experience and my belief to stay "in the moment." It's essential for any artiste, or serious admirer. ------------------------------ Date: Wed, 10 Jan 2001 23:03:12 -0800 (PST) From: ProgNaut at webtv dot net (ProgNaut) Subject: Daryl Hall sorry if this has been a topic before [I'm new to the list] but how does Sacred Songs sound? I had RF's Exposure tape years ago and heard Hall on it. -------- Best Regards, Ron http://www.ProgNaut.com ------------------------------ Date: Thu, 11 Jan 2001 18:13:24 +0000 (GMT) From: Danielle Bow Subject: Re: use of "brass" >Date: Mon, 8 Jan 2001 15:18:11 -0600 >From: Jeff Oaster >Subject: Re: use of "brass" >There are, of course, many equally superb prog bands >which "focused on the use of saxophone - both on >studio and mainly live?" Such as,............... >Soft Machine, Van Der Graaf Generator, Urban >Sax, Etron Fou Leloublan, Albert Marcoeur, etc. etc I agree totally and there are new albums combining progressive rock and jazz brass & sax. Neil Sadlers last CD uses most of the Zappa horns AND really features guitarist Mike Keneally who performed with both Steve Vai AND, more importantly, R. Fripp on the G3 tour. (Will any of THAT ever be released?) Neil Sadlers keyboard work has a soundscape feel and the percussion playing should interest Crim fans. Mike Keneally has written, "Sadler's music sounds like some of the darkest dreams I've ever had - and I really like bad dreams. His is a unique voice and the absolute integrity of his vision oozes out of every fractured melody, foreboding rhythm pattern and sideways chord sequence he conjures up. I adore his music and I'm honored to have been a part of it." These charts are REALLY complex, and soloing over them wouldn't have worked if I had tried to actually "play over the changes" - I had to invent melodies that felt right to me over Sadler's contanstly shifting soundscapes. Actually "soundscapes" is an appropriate term to use since I employed the same approach improvising with Fripp in '97: abandon intellect, trust that any needed technique will be there when it's needed, and fly I couldnt agree more. I first saw Neil Sadler live at a Danish Festival. Powerful music. I wonder if KC would use a support band. Hmmmmm? Regards, Dani ------------------------------ Date: Thu, 11 Jan 2001 18:39:25 -0500 From: Steve Smith Subject: Re: Eno in the movies While I suspect that this topic will soon be heading into the dustbin, I can't resist adding the following. I first encountered Eno when "Energy Fools the Magician" (from 'Before and After Science') was used in the Ramones film 'Rock'n'Roll High School.' The piece was only briefly excerpted in the film, but appeared at full length on the soundtrack. It was the weird beginning point in a voyage of discovery that yielded wondrous results... Steve Smith ssmith36 at sprynet dot com NP - William Brown, "Ragged and Dirty," 'Deep River of Song: Mississippi - The Blues Lineage' (Rounder Lomax Collection) ------------------------------ Date: Fri, 12 Jan 2001 10:40:06 +0200 From: masse at geocean dot u-bordeaux dot fr (Laurent MASSE) Subject: Re: KC posters >I >for one would definitely be interested since KC is arguably my favorite >group, and I have no posters to hang on my wall. So... Is KC your favorite group to LISTEN TO or LOOK AT? I mean, does the fact you like their music make them so good looking that they deserve adorning your bedroom wall? ___ Laurent Masse ------------------------------ Date: Fri, 12 Jan 2001 11:10:13 -0500 From: "Justin Weinberg" Subject: Jazz Cover of Matte Kudasai I haven't heard the band or the track, but the DC-area jazz band Complex Blue has released a CD with a cover of Matte Kudasai. Here is an excerpt from the liner notes, which can be found at http://www.lexjazz.com/knot_linernotes.htm : --- "King Crimson's Matte Kudasai, originally from the Discipline album, and later released again on a compilation disc called Compact King Crimson, is a haunting song that hit me right in the gut the first time I heard it. Though its melody is beautiful, for me it is a song of longing and melancholy. Our version, though, seeks a different outcome. After the ethereal Asian influenced intro (the title is Japanese for "wait, please"), things begin to change. A slow blues emerges, and the passion heats up thanks to Mikes incredible drumming (the man is super-glued to the groove!). In the end, it's just pure joy. The melancholy has faded. Release. Peace. When we recorded this, it was decided that recording quality would be compromised if we tried to fit the vibes and marimba together in the slightly cramped studio with everybody else playing at the same time. So the mallet parts, along with Chris' pennywhistle part were overdubbed later. I got to sit in the control room and just listen as the other guys laid this track down in one take! Tears came to my eyes as all the sound, spirit, and energy they poured into this music just washed over me. (If you've ever heard what music sounds like in a good studio - BEFORE it's pinched and processed to meet CD production requirements, you know how powerful a full dynamic range can be!)" --- It sounds interesting. If anyone's heard it, send in a review. They are playing at Blues Alley (DC) Monday, January 15th. Justin ------------------------------ End of Elephant Talk Digest #799 ********************************