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 #960 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 960 Monday, 18 March 2002 Today's Topics: Mad posts, 7/4 Yes, krimso ringtones Re: sharks tongues in lemsip Tony Levin in St Louis KC's use of whistles and mirrors. KCCC #19 - Nasville 2001 Excellence Re: Turntables Re: Ivo Papasov Re: Turntables / Janab = Fripp Need Set List The State of the Crim Re: Some more examples of odd time signatures Ali Janab / turntablism / 21C Schizoid Band I don't agree that ITCOTCK totally sucks GIG REVIEW: Peter Hammil, and Good-bye TLG ------------------ 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: Fri, 15 Mar 2002 11:26:08 +0000 From: "lawrence moseley" Subject: Mad posts, 7/4 Yes, Hi all, I had rather thought that the Anal Jab guy was one of those moderated posts that slipped through the portcullis. I had wondered just what weird ones Toby once referred to, and now we all know. Fortunately this one did not slip through on that old Abortion topic. God knows where that would have ended. ET might have had to close down. This is just one post, he has to put up with all sorts of weird ones that would wind everyone else up so much. Time signature frenzy, do not forget Schindleria Praematurus (The Fish) from Yes. Last time I counted that was in 7/4 I think. Excuse spelling but I do not have Fragile Close to the Hand at the moment. Female singers for a Fripp / KC / ProjectDebbie Harry? A thought on the 10 minutes of Moonchild that is the very first recorded KC Improv? To me every time I hear some of those acoustic guitar moments I think, thats a good idea, now develop itand then nothing. Ultimately frustrating for me. Is Lizard not a wonderful piece of music with some of the most (IMHO as ever) heartfelt melodies ever. I have yet to hear classical music that can provide that sort of satisfaction. Well Lizard and Starless then. Got to agree with the criticisms of the lyrics. Some do fall flat but do not seriously flaw these albums which I listen to for the music anyway. I was just glad to hear a remastered One More Red Nightmare. I had always thought Wetton was singing not my neck is turned round but my knickers are turned round. That had me wondering what the hell that was all about. Still one of the most exciting pieces of music I hear in the amorphous world of Prog Rock. Animals is still that great album. But everything from Piper to The Wall is great, compilations notwithstanding, Floyds music IMHO cannot and should not be taken out of its concept context. I am reminded of an interview I was reading (at school actually, in the 70s, Circus magazine, and it was a geography lesson.) My most important one, (lesson and interview) as it turned out. Jimmy Page was commenting on the quality of music and suggesting the criteria he used was the timeless quality. That is if something sounds fresh and relevant on release and later on it still does this is the best. Now, I know this is still being subjective, saying best rather than favourite but I am blathering on about assessment and judgement rules rather than a I like this, therefore it is the best. He cited Hendrix and Syds Floyd in the interview. Being the devoted fan boy I was then and now I thought I would adopt that approach and found a terrific adventure in music, some cul-de-sacs of course, well out weighed by plenty of great moments. This would not have happened if I had been a pop fan. I have never liked machine pop, never will, but I do like a terrific song within that short space. So of course you dont get key and time changes with pop. Kylie (Minogue) recently admitted that she was not really a good singer and would hate to do gigs as such. I respected her honesty but Im damned if I would buy one of her CDs. Pete Waterman (SAW 80 s notoriety, I mean fame) had been interviewed on TV saying he hated the idea of his pop acts playing live on TV. He was worried that the sound that had been so painstakingly nurtured (contrived) in the studio would be lost and everyone would hear just how bad all these pop stars really are. I had to laugh. Honesty in interviews reveals the dishonesty in their product creation and promotion. But it has always been like that. That is why the 3 chord standards are so prevalent. EAB has all the notes in the E scale, dont deviate and you cant go wrong. Or do anything interesting. You will fit in, be bland and corporate. If all popular music was like that I would have saved a fortune in denarii over the years Future Club releases? I once mentioned the album of music that Bill Bruford talked about in the liner notes of TOAPP. This stuff was, apparently not worthy. Lets see for ourselves, no? Apologies for long post, you got to the end if you read it, youre a winner. Take care all Lawrence ------------------------------ Date: Fri, 15 Mar 2002 13:26:49 +0000 From: "poldo taylor" Subject: krimso ringtones Hey Krimsonites,do you know where I can get any krimson ringtones for my cell phone? Maybe RED ... Thank you all, Poldo ------------------------------ Date: Fri, 15 Mar 2002 10:47:28 -0500 From: "Jordan Clifford" Subject: Re: sharks tongues in lemsip >The box is titled "Sharks' Lungs In Lemsip Vol. 1" so perhaps we can expect >volume 2. Does anyone know something about vol. 2? does anyone know anything about this at all???? ive never heard of it! what is it? tell me more. i mean i know a lot of the improvs in the mid 70s were altered titles like these, so is taht waht they are, improvs? from when? do they all sound alike? where did you get this?? ------------------------------ Date: Fri, 15 Mar 2002 13:31:30 -0500 From: "Teramura, Doug" Subject: Tony Levin in St Louis FYI...I noticed that the California Guitar Trio has been added as an opening act for Tony Levin's show at the Duck Room in St. Louis on April 7th. Previously, they were scheduled to perform separately at Generations Night Club on the same evening. ------------------------------ Date: Fri, 15 Mar 2002 14:15:05 -0600 From: "Lassen, James Leo" Subject: KC's use of whistles and mirrors. On the Live at Tokyo 95 video, Bill Bruford and Pat Mastelotto are often shown with whistles in their mouths. Did they do this for actually sounds or just to cue each other? It seems kinda odd, cause I can't even tell if they use the whistles. Also on the video, there seems to be a number of panes of glass around the drummers. Are these mirrors or some sort of sound proofing device? Speaking of mirrors, in the booklet for the gatefold version of Beat, there is a picture of the band from the stage point of view, but if you look above the audience, you see a giant mirror. Did/do they often use mirrors when performing? James ------------------------------ Date: Fri, 15 Mar 2002 14:01:55 -0800 (PST) From: Frank P Subject: KCCC #19 - Nasville 2001 Hi all, I know it's not out yet BUT...I'm looking for a copy of KCCC #19 - Nashville 2001. If anyone is willing to part with their copy please email me privately @ waitingman7 at yahoo dot com . Thanks! Frank Yahoo! Sports - live college hoops coverage ------------------------------ Date: Fri, 15 Mar 2002 21:39:53 -0800 From: "H b" Subject: Excellence Hello! It seems we might just get some dialogue happening here! >> A scattered response to Jeramaya and his recent comments Thanks for responding to my thoughts. I may have lead you abit off course when I mentioned Creed, but I'm not really interested in Pop/Commercial culture, other than to take a pulse of 'reality' every once in awhile.. When I mentioned the need to examine, challenge and create MUSIC of a 'progressive' form, I implied OUTSIDE the mainstream. ..where artists with some form of integrity and imagination exist. The TWO problems you mention are only problems if you desire a contract with a Music Industry Label and your share of fame, $$, etc.. I would strongly recommend reading an excellent interview('The Progressive' '86) with Frank Zappa, where he discusses what he referred to as the "Culture of Mediocrity" which is alive and well in the US and The West."Take the pop-music business for example. Look at the stereotypes held up by the media as examples of great accomplishment. You see guys who are making millions of dollars and selling millions of units...and they are stamped with the seal of approval, and it is the millions which make their work quality. Yet, anyone can look at at what is being done and say "Jesus, I can do that!" You celebrate mediocrity, you get mediocrity. Few people who do anything excellent are ever heard of. You know why? Because pure excellence terrifies the fuck out of Americans, who've been bred to appreciate the success of the mediocre. That is the orientation of most entertainment. politics and religion. You think its going to turn around? Not without a genetic mutation, its not!" FZ It is up to those of us who seek new forms, Timbre, etc to continue on despite those "metronome beats and pre-school guitar riff." I'm certain there are MANY people just famished for a feast of a new and different flavor(s). Is KC continuing to "push art"? Let's hope so. Certainly my ear is more drawn to anything they do, as compared to the droning mass mediocrity we are all surrounded by. And they're not alone. I am constantly stumbling across local, National or International music that helps to invigorate and keep the Progressive-ness we seek alive. Let's continue to move against the forces of mediocrity and bring Excellent Music to life in the ways we can! "Cool" is subjective, man... With respect to your 80's comments, its all relative.. We can easily look back and think that somehow it was cooler and less commercial than today, but just look at what was on the Top 100 for your favorite year: Crap! If what you say is true ie: 'state of affairs', then surely we are about to see some of the most amazing outpouring of incredible music... I Hope! Politics are also a whole new ballgame ( and biz as usual) "Not everything was marketed to people like it is now." HOW SO?! The Web is really what's different and this is definitely a window of opportunity for 'us' DIY types (not to mention Hard Disk recording!) I wouldn't consider King Crimson to be 'underground', however.. While I totally respect the vision of DGM, they are still very much part of The Industry. What sets them apart is Fripp's years of experience and the ability to survive somehow through all the various phases and times. Jeramaya, I encourage you to take your idea about collaboration and run with it. Start right where you are, in your home town. There's really only so much we can do via modems.. The real community is right outside your door! Engage! I would like to acknowledge those who wield the mighty Turntable. It is truly an art form. (I don't feel these folks are musicians, necessarily. My point toward the Ali prankster. Artists, without a doubt) Keep the dialouge going! PEACE, Dr Howard n.p. Erik Friedlander "skin" "It's ridiculous: people sleep all their lives away. A big snooze while all these wars are going on without stopping..." --Don van Vliet (Captain Beefheart) ------------------------------ Date: Sat, 16 Mar 2002 00:20:01 -0600 From: Craig Subject: Re: Turntables >DJ on stage as part of the band, and he was soloing in a good >jazz band and holding his own superbly, enough to get plenty of applause >from his performance. CP made a point of saying how it really is just >another instrument, just an unusual one in many contexts. A good DJ >really *playing* t-ts can be a pleasure to hear and watch: I've seen it >done. It is usually just annoying. Even when it 'works', I wouldn`t want it to go on for long. The sound itself is generally so unappealing. The guy who was on the first Praxis CD was alright. I saw someone who used it sporadically (strictly for percussive effects), live w/ Medeski, Martin, & Wood. That *was* great............... .......Then, of course, you have the master/pioneer, Christian Marclay, who made it into an experimental artform. ~C ------------------------------ Date: Sat, 16 Mar 2002 00:32:46 -0600 From: Craig Subject: Re: Ivo Papasov >Some of the craziest, most exhilarating complex/compound rhythms I've ever >heard are in East European music--and yes, people DO dance to them. Check >out anything you can find by Ivo Papasov and the Bulgarian Wedding Band YES! Ivo`s drummer is absolutely astounding! He makes all those poly-rhythms seem effortless. The entire band is stunning. I`ve seen few bands that can 'play their asses off' like this.... *Do* check them out!! (Endorsed by Zappa, btw) Don`t let their name ("Bulgarian Wedding Band") deter you. Start w/ their "Orpheus Ascending" album. Incredible!!!!! --& I >dare you to try to count the beats per measure! ...or dance to it! ;^) (You might end up in hospital) ~Craig ------------------------------ Date: Sat, 16 Mar 2002 00:13:20 -0700 From: "Proginoskes" Subject: Re: Turntables / Janab = Fripp Peter Clinch

wrote: > Courtney Pine made a point of saying how it really is just > another instrument, just an unusual one in many contexts. Yes, and so is a PVC pipe, if you stretch the definition enough. (The Blue Man Group uses such things as instruments.) I don't know whether "a turntable IS an instrument" is aimed at me, or not, but the logic is: A turntable is a device used to play records. A CD player is a device used to play CDs. A CD player is not an instrument, so a turntable isn't one, either. In response to "Schopf" , who suggested that Ali Janab might be Robert Fripp ... Perhaps, but then that raises the question: How do you know I'M not Robert Fripp? (I'm not, but you don't know that for sure.) If Janab is Fripp, then the question of how much of the post was lies comes up, and some interesting, off-beat questions. For instance, has Fripp ever played bass guitar? And if so, did he use a pick? -- Christopher Heckman ------------------------------ Date: Sat, 16 Mar 2002 17:03:29 EST From: SoundboardMaster at aol dot com Subject: Need Set List Anybody can help me out? I need an accurate set list for Crimso 12-13-01 Beacon Theater, NYC. Please e-mail me. Thank you. ------------------------------ Date: Sat, 16 Mar 2002 18:52:43 -0600 From: "Cedric Hendrix" Subject: The State of the Crim Hey all, Doctor Howard has been trying to get a few comments about the possible direction of Y2Crim. I've been meaning to chime in. At the very least, it's a far more interesting topic than best/worst song, or the opinions of alleged respected musicians, serious or no. All right ... I said it. I feel better. Now, on to the topic at hand ... I think the band that released Level 5 was a band in transition. They are on the verge of, as the Sun Ape (?) put it, tearing the roof off the sucker. L5 was a promising step into a new frontier. But in order to take that step, the band sounded like they needed to transpose and include elements of their older sounds. Now, the idea is to make those notes sound heavier. It's obvious Tool is influenced by Crimson (and god love 'em for it). But I think the influence is running both ways, and could yield some interesting results. Pat has added a real sense of groove to the band. And his use of DJ gear adds a heretofore unknown dimension to the sound. Personally, I like it a lot. Nothing wrong with sampling, so long as you do it creatively. Trey ... well, let's face it. The man is extremely talented. The Warr guitar not only gives the band a solid bass foundation, but acces to a third guitarist. This comes in handy when Ade feels the need to play percussion. Speaking of Mr. Belew, I love the fact that he has decided to plug his Strat into an amplifier again. It has made him a much more aggressive guitarist, providing more than a little sonic muscle from the frontman. Robert continues to amaze and baffle me, combining the power and passion of soundscapes with jaw-dropping single note runs that go where angels fear to tread. One can only imagine what is written on his notepad right now. I've said all that to say this: I'm excited. I think the next record will flat out rock! Given the chance to breathe, and the opportunity to shed itself of the past, Y2Crim will take this music into places none of us have imagined. Then again, I might be wrong. After all, as is said, "Expectation is a prison." Having said that, I think I'll just absorb whatever comes down the pipe, and make the most of it. Cheers, Ced ------------------------------ Date: Sat, 16 Mar 2002 20:51:46 -0500 From: Gamantyo Hendrantoro Subject: Re: Some more examples of odd time signatures > From: "Brian Pearson" > Subject: Some more examples of odd time signatures > Brubeck's "Time Out" album (which includes "Take Five" and "Blue Rondo a la > Turk") is devoted entirely to non-(Western)-standard time signatures. More examples in this genre can be seen in the music of Don Ellis and his big band. > Some of the craziest, most exhilarating complex/compound rhythms I've ever > heard are in East European music--and yes, people DO dance to them. Check > out anything you can find by Ivo Papasov and the Bulgarian Wedding Band--& I > dare you to try to count the beats per measure! Probably of similar interest to the avant-garde fans is the works of such groups as Paradox Trio, Pachora, Tiny Bells Trio, etc., who blend their avant-garde root well with mid-eastern, gypsy, and celtic influences. Odd metres are of course in abundance. Gamantyo ------------------------------ Date: Sun, 17 Mar 2002 21:42:46 -0000 From: "D. Chinn" Subject: Ali Janab / turntablism / 21C Schizoid Band Hi all, Despite being on the liberal/left-wing side of the body of ET listers, I found the Ali Janab e-mail hilarious. It's in poor taste, for sure, but it's an absolutely spot-on parody of the sort of lame, pompous, loudmouthed brute ignorance that you find ALL OVER many of the music chatrooms on the net. To anyone who's getting in a froth about Ali, try using him as a welcome reminder of how special ET is. A music forum where (even if you're bored by the Top 10s/the "dictate KC's personnel" suggestions/the download tech-chat/insert your own bugbear) you can at least consistently find viewpoints, information and arguments which broaden your own knowledge, rather then the all-too-frequent "you suck/you're a fag" flames generated by fratboy rock fans with too much online time on their hands. Whoever's behind "Ali" knows this as well, I reckon, and is having a Chris Morris-style chuckle in lurk mode right now. That said, once was probably enough. Still, I'd suggest that spend your time worrying more about why such garish attitudes of dumb-spoilt-white-boy stupidity are being promoted so vigorously in mainstream American rock right now (obvious answer - it sells, it means that the people who buy it are reassured in their lazy thinking, and no-one in the audience feels the needs to challenge or question anything as long as the next beer/bong hit/tit-flash is on the horizon). Peter Clinch wrote: > At a Courtney Pine gig a few years ago promoting Modern Day Jazz Stories > CP had a DJ on stage as part of the band, and he was soloing in a good > jazz band and holding his own superbly, enough to get plenty of applause > from his performance. CP made a point of saying how it really is just > another instrument, just an unusual one in many contexts. This was probably DJ Pogo, CP's usual sparring partner (and often to be found heading up the Lyrical Lounge at the Jazz Cafe in London). I agree with you about turntablists playing an important role in modern popular/avant-garde music - these guys initiated the concept of sampling in pop and hip-hop, remember? Personally I think a ProjeKCt with a turntablist would be an interesting development (and I'm sure that rappers such as the guys in Anti Pop Consortium can rap in 13/8, but perhaps that's pushing it...). Of course, BPM&M already gives us an idea of what that might be like. Barrie Sillars wrote: > at this years Canterbury festival during 23-25 August, a band > named 21st Century Schizoid Band will be playing KC tunes. The line-up > comprises of Peter Giles, Mike Giles, Ian McDonald, Mel Collins and Jacko > Jakszyk. First I have heard of this! I had heard rumours of a reunion > line-up, but nothing recently. Anyone else know more about this? I bump into Jakko at gigs in London every year or so, and met him at the November 2001 launch of the Toxic Tome at Helter Skelter (BTW, has anyone on ET actually written an eyewitness account of this event yet?). This band was one of the things he mentioned at the time, and asked me to keep quiet about. But since he spilled the beans in Krimson News a month or two ago, and the project's obviously a going concern by now, I reckon that I'm in the clear. Jakko's been working with Michael Giles for several years now (they're father- and son-in-law) on various uncompleted projects, but this was a new development. I think this is obviously an extension of the "McDonald/Fripp/Wetton/M.Giles" reunion proposed by Fripp in 1997 and mentioned in the Tome (in the chapter covering "Epitaph"). With RF disinclined or busy with the Double Duo, and Wetton presumably busy with his own band, the reunion has subsequently evolved this way. Jakko will be handling vocals in the new band as well as guitar. He also mentioned that they were trying to keep the usual music biz bullshit and hysteria away from the project, hence the secrecy and the lack of immediate bookings of, for instance, highly-paid gigs in Japan. Anyone curious about Jakko can find out more about him at http://www.jakko.com - he's a very talented musician with a very interesting and irregular career pattern. As a guitarist, he's closer to Holdsworth than Fripp, but he's one of the few players with the right kind of attitude to step into (the young) Fripp's shoes in a project like this. (Note to all posters - please, God, don't take this as a cue to list your own nominees...) I've no more dirt on the project, I'm afraid (and there isn't anything more on the Jakko site either, although a recent Sid Smith diary entry suggests that all is going well). But even back then, Jakko was enthusiastic about how well all the musicians were playing and gelling together. So as long as biz matters don't interfere, this particular Crimsoid resuscitation ought to be one worth seeing. He also mentioned that, if possible, they were going to try to get some original material into the set as well - so in addition to the live fireworks, there might also be an opportunity to see how the creative chemistry works thirty years on, with perhaps Jakko's own proven talents as songwriter acting as the catalyst. We live in hope. cheers, Dann Chinn http://www.collective.co.uk/misfitcity np: No-Man "Lost Songs Volume One" (with RF ripping through "Coming Through Slaughter") ------------------------------ Date: Sun, 17 Mar 2002 21:14:30 -0500 From: "Ling & Emory" Subject: I don't agree that ITCOTCK totally sucks Well, that Ali Janab post was sure damn funny. And I have to admit I'm not particularly in love with this record: it's very dated, and dressed in cliches. BUT, there are actually some real strengths here if you are willing to listen past the "Prog" to taste the creamy-filling. For instance, a great moment occurs during the transition between 21st Century Schizoid man and "I talk to the Wind"...the first is actually really wailing and even terrifying (transcending the category of prog, I'd say), and then those dainty flutes kick in. Something about that moment is very powerful, and really rises above whatever anyone may think about those songs in particular. There are other worthy moments as well, but hey--this is this band's first record, and the musicians young and inexperienced. That they created this thing is pretty amazing, even if Crimson doesn't really find it's voice for a few more years. As for me, I just don't dig all those little fairies, leprauchans and dancing witches and crap. And part of that is probably my fault: I have a hard time hearing past these elements to the Crimson that we all know and love, and that is buried under all that shite. As for me, I always had an ear for Crimson that was much more punk-oriented. And when I found Red I was very happy because it not only appealed to my guts and my balls, it also had something for my brain as well. In a sense, ITCOTCK was just the opposite: brain/mind oriented, with a little for the heart and body. -Emory ------------------------------ Date: Mon, 18 Mar 2002 21:57:46 +0900 From: Takaaki Higuchi Subject: GIG REVIEW: Peter Hammil, and Good-bye TLG On March 16th and 17th, I went to see the Peter Hammil live, which was really, really cool. Peter Hammil is not exactly King Crimson related, though some of his CDs are available from Discipline label, and the venue will be closed in the end of this month, his gigs were the last prog music gigs in this venue, so I came to write this for my rememberance of TLG. Peter Hammil events: On March 15th, there was held a dinner party with about 40 attendees as a kind of reception party for PH. After thirty minutes dinner, we moved to Q&A session with PH. PH answered to most of the questions in detail kindly. There was also autograph and photo session. The attendees had a wonderfull time. There were three gigs on March 16th and 17th, and PH had played completely deferent songs as stated on 15th night. It's amazing! As you know, he has unique and unparallel voice, and Stuart Gordon played violin with various tones and effects. It was so impressive and I could not fully express my feelings in English. I just say it was worth as the last of my TLG experiences. Regarding the venue, the Tribute to the Love Generation. The name is so strange and too long, mostly known as TLG. which was the first venue of King Crimson - The Construction of The Light tour in Japan. I was at a seat just infront of the stage at the Crimson gig. I've never seen KC played so near to me. I felt I could almost touch Trey Gunn :-) Since the Crimson gig was held, there came many Crimson related artists like CGT, Earthworks, Tony Levin and so on. Here is the list of gigs I enjoyed in 2000 to 2002. 2000: 10/ 2(Mon) King Crimson 11/12(Sun) CGT with Tony Levin 2001: 2/ 9(Fri) Earthworks 2/10(Sat) Earthworks 2/11(Sun) Earthworks 3/10(Sat) Peter Hammil 4/ 1(Sun) Sharon Shannon 4/ 3(Tue) Chisako Takashima 4/21(Sat) Tony Levin 9/14(Fri) Stewart Gaskin 9/15(Sat) Stewart Gaskin 9/16(Sun) Lars Holmer 11/16(Fri) Allan Holdsworth 11/17(Sat) Allan Holdsworth 12/ 8(Sat) In Cahoots 12/ 9(Sun) In Cahoots 12/17(Mon) Burgarian Voice 2002: 1/12(Sat) Steve Hackett 1/13(Sun) Steve Hackett 1/14(Mon) Steve Hackett 1/26(Sat) Caravan 1/27(Sun) Caravan 3/ 1(Fri) Kevin Ayers 3/16(Sat) Peter Hammil 3/17(Sun)Day Peter Hammil 3/17(Sun)Night Peter Hammil We appreciate Mr. Osawa and TLG staffs for their efforts to make these great gigs happen. We've really enjoyed so much in this comfortable and unique live house. Thanks and good bye, TLG, we'll never forget the gigs played at here. regards, Takaaki Higuchi ------------------------------ End of Elephant Talk Digest #960 ********************************