Sunday 6th March, 2016; 14.57
So, what to say?
For much of my professional life, I have spent more time talking about playing than actually playing (not an exaggeration). And that before promotion and interviews were contractual necessities, noting I refused to sign Virgin Records’ promotional clause (1994). Presently, I am more inclined to do-all-the-things-I-am-doing, than commenting on them. So much is underway in various areas of my personal and professional lives, it would take two-three hours a day to present a sufficiency of reporting. And who would want to read that, anyway?
I can stay pretty much on top of my affairs, providing I don’t pick up a guitar. And I am picking-up a guitar as much as I am able. Hence apologies to all those whose e-mails have not yet had a response, and/or a response that is not all they had wanted it to be. Returning from Mexico last Tuesday, the in-box has overflowed with in-flow. Today, a something-of-a-kind recent-reportage…
The Orchestra Of Crafty Guitarists XII played two performances in Mexico City on Saturday and Sunday, 27-28th. February 2016.
The little cobbled lanes of Tepoztlan, leading to the Quinta Tonantzin Retreat House, were impossible for the OCG XII tourbus to come to us. A series of taxis carried our c. 50 people up to the top of town where the coach was waiting…
On Saturday our venue was an historic ballroom, Salon Los Angeles where, Ferndo M. informed us, the Samba was born…
(Fotografía: Eduardo V Ríos).
Arriving back, first to the house in the AlexMobile, Leo went to ring the doorbell. The scorpion that fell on me here two years ago was not a deadly creature, unlike the Vicious Queen deadly spider on the doorbell waiting for Leo. If Leo had not seen it hovering on the bell, he would have been dead in minutes.
Back from the gig, The OCG XII…
On Sunday our venue was the Bajo Circuito, a rock club directly under a road: the ceiling was the road…
(Fotografía: Sandra Bain Cushman).
(Fotografía: Eduardo V Ríos).
Nestled within both performance spaces, the audiences were part of the performance on both evenings. Personally, wonderfully fun adventures with my chums, The OCG XII.
The final meeting was held in the Ballroom at 23.00 on Sunday 28th. February. The OCG XII c. 22.14…
Re-affirming the belief that Music can change our world, note by note, beat by beat, in Silence and in sound, Robert’s work with the Guitar Circle in Mexico was declared complete at 23.13 and 30 seconds.
When an undertaking comes to an end, and we let it go, three things: something remains, something falls away, and something continues with which we may re-engage, if we wish.
When we undertake a piece of objective work, work for others, we receive payment: we are given what we need. Sometimes this payment-for-our-work is to be shown our next piece of work.
A long essay, even a small book, would be necessary to accurately convey a sense of what took place during this week of The OCG XII. As a young man, it would have re-directed the trajectory of my life. As an older man, the week has confirmed it. During the last two days of the course, the future began strongly presenting itself. After all, a completion is a new beginning, so no surprise there. On the other hand, when the creative future presents itself, it is always surprising. Of that, perhaps more in two or three years’ time. Or not. Now, it is time for Robert to go home.
Following completion/s, Ralston The Brute took charge of the house cleaning process…
On Monday, lunch with Leo in an excellent restaurant in Tepoztlan en route to Mexico City Airport. The ‘plane was hit by lightning on the way in, delaying our departure for three hours. Landing London on Tuesday c. 15.00, arriving home c. 18.30. Supper and settling, rising later for two hours practising in the Cellar, to bed c. 02.00.
Many arisings were awaiting my attention, of which several of the Crimson Kind. Most recently has been the subject of how best to present, on record, The Seven Headed Beast Of Crim – Live! the love letter following a hot date. The Orpheum EP failed to capture the Beast in full flight, and the band kept getting better so quickly that DGM SoundWorld couldn’t keep up. Now, the best bootleg I’ve heard, Toronto II …
KC touring in the Autumn of 2016 has also drawn DGM’s attention, with venues and dates to be approved.
Respected musician contemplates joining King Crimson, and lapses into despair.
Bill Rieflin recently decided to take a sabbatical, a decision supported by all the Crimson Brothers. So, what to do with September performances already sold out?
Both Gavin and Jakko’s first thought was: call Jeremy Stacey. Jeremy grew up in the Bournemouth Scene, where I went to see both Stacy Brothers at Bumbles (a Bournemouth club) in 1981. Jeremy worked with Paul Holman in Wimborne, next door to the former Fripp World HQ. Bournemouth features large in the Crimson world of players: Michael Giles, Greg Lake, Robert Fripp, Gordon Haskell, Andy McCullough, John Wetton and now - Jeremy Stacey. Hot shots from Jeremy’s CV:
Jeremy grew up in Bournemouth in the 1960s, learnt drums, piano and recording technique with identical twin Paul Stacey, also a guitarist, keyboard player and producer.
Attended acting school at the London-based Drama Centre in his teens after appearing in adverts and TV series as a child actor.
Involved in the London Jazz scene from his twenties, including with Jason Rebello.
A member of The Lemon Trees with Guy Chambers in the 1990s.
Toured with Aztec Camera, The Waterboys, World Party, Omar, Echo and the Bunnymen, Eurythmics, Chris Robinson’s (Black Crowes) New Earth Mud, The Finn Brothers (Crowded House and SplitEnz) and Tom Jones.
In 2000, Jeremy began a 10-year working partnership with Sheryl Crow, recording and touring the world; then Noel Gallagher’s High Flying Birds.
Recorded with Ryan Adams, Ethan Johns, Noel Gallagher’s High Flying Birds, Sheryl Crow, Aztec Camera, The Waterboys, Joe Cocker, Paul Young, Sia, Echo & the Bunnymen, Zero 7, Roachford, Robbie Williams, Amy Winehouse, Chris Robinson’s New Earth Mud, Gary Barlow, Take That, Charlotte Gainsbourg / Air, Staves, Glyn Johns, Nick Harper, Benmont Tench (Heartbreakers), Eric Clapton, Tom Jones, Tal Wilkenfeld, Chris Squire, Steve Hackett, David Jackson, David Holmes, Alfie Boe, Neil Diamond, and others.
Played in recent years with, among others, Doyle Bramhall, Sixto Rodriquez, Madeliene Peyroux, Wayne Krantz, Hamish Stuart, Pino Palladino, Rudder and Jason Falkner.
Produced and recorded albums for Tim Garland (Chick Corea), Tom Baxter and Rob Bravery, learning from the New York Jazz scene, now taking a new direction. Dismantling a substantial recording studio in 2015, currently returning to a simple digital set-up; and adopting a discipline to sit down and put together his own album.
Jeremy will be the Centre Drumson for KC’s Autumn 2016 Euro-touring.
Enough reportage for one day. A guitar is waiting, and so is WillyFred, Prince Of Rabbits…
WillyFred this morning, nestling among the herbs of his finger buffet. A very elderly rabbit now, about 115-120 in human years, Wilf has an alarum every few months. On several occasions we thought that WillyFred was about to fly away, the most recent concern three days ago. But Toyah hand feeds the Prince, administers various life-preserving elixirs, and we give bun a lot of attention. A very happy bun, he sucks it up knowing, quite rightly, that in this household he is King.
18.02 An important part of the Guitar Circle’s wider activities: the Guitar Circle Children’s Project website and Indiegogo campaign…
Browse Robert Fripp's diary archive.