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Seattle
:: Posted by tpayne on February 03, 2012

I note that the Corner Market building in the 9-January 2012 diary photo "Back to the Hotel II" houses a crumpet shop, but there has been no mention of such shop in RF’s breakfasting adventures. One assumes that Englishmen don’t eat crumpets in America for the same reason that Seattleites don’t eat salmon in St. Louis?

Jarrett's Shostakovitch
:: Posted by emory0 on February 03, 2012

The day after I saw Jarrett last week I pulled out his recordings of the Shostakovicth Preludes which I picked up in a tremendous little music shop in Brugge a couple of years ago (I’d never seen them in a store before), which are excellent little neo-classical pieces. No, there are no Jarrett vocalizations (at least not audible on disc 1). The pieces themselves are apparently inspired by Bach, and for moments you’re tempted to think they originate from Bach’s or (more likely) Mozart’s era, but very quickly little 20th century sounds sneak in and you’re thrown for a loop. Jarrett hits some of them with a slight Jazz feel which, to my ears sound excellent and appropriate. No doubt tjhese pieces were internalized by Jarrett and infused into his improvised work (in fact I think they may have been recorded when he was making the transition from long meandering improvisations to the far shorter forms he’s adopted recently).

The discs are excellent, though I do admit that I found a full hour of the first disc a little boring by the end. The headstrong wife said they depressed her as they sounded a lot like what they played over the loudspeakers in China when she was growing up.

Noises, faces, Krim
:: Posted by Spingere on February 03, 2012

The Keith Jarrett classical recordings I was refering to were the ECM ones of Bach and Shostakovitch. To be fair, I haven’t listened to these for a while, but I don’t recall any vocalising. For what it’s worth I’ve always seen, er, heard these noises as an extention of ’bass face’ - the strange set of expressions that appear when playing (look in mirror and winces).

Anyway, remember that band called King Crimson?

distraction
:: Posted by microsonic on February 03, 2012

if you don`t want to be distracted by vocalizing and moaning piano players listen to Austrian piano player Friedrich Gulda. Classic, Jazz, Avantgarde...Friedrich Gulda was a master in many styles.

RF and Canadian Rock
:: Posted by Dr_Erock on February 02, 2012

Despite not touring Canada enough (!), the Great White North owes RF a debt of thanks for aiding in the start of the Can-Rock Renaissance:

"Martha and The Muffins ... were musically illiterate art students energized by new-wave.  After a year of honing their first attempts at songs into danceable tunes that still retained an edgy tension, they found themselves meeting with Virgin Records at the behest of King Crimson’s Robert Fripp, who happened to be in the audience at their first New York gig." (324)

So we got some very neat New Wave tunes, Daniel Lanois got a chance to hone his studio magic, and Toyah got a fine song to sing --- "Echo Beach."

Barclay, Michael, Ian A.D. Jack and Jason Schneider.  Have Not Been The Same: 1985-95.  Toronto: ECW Press, 2001.

P.S.  If the poor deluded blessed youth described in this book had the benefit of the industry discussions undertaken at this site, maybe their music could have reached more ears and they would have ended up less broke, bitter, exploited, etc.

Keeping your woman in line
:: Posted by emory0 on February 02, 2012

But not before I gave the wife of 25 years a good beating.

Ah yes, that’s one approach to keeping a very headstrong woman in line. There’s only one caveat, however: She may insist on giving this approach a test-run on the ’gander’, so to speak.

Jarrett's tinklings
:: Posted by syncopatico on February 02, 2012

All this discussion of Keith Jarrett’s piano idiosyncrasies, and nary a mention of his recording of G.I. Gurdjieff’s tunes. Just as well, for I prefer Elan Sicroff’s interpretations anyway!

Jarret and classical
:: Posted by nungboy on February 02, 2012

I don’t believe I have heard Jarret playing "classical" music so I cannot say whether he does or does not make vocalizations sounds but I do have his recording of clavichord improvisations. And while the clavichord is generally considered a "classical" instrument, I recall that this recording of his is not really "classical" in nature. But one thing is clear: he does the same sort of vocalizations on that record that he demonstartes on his jazz recordings and it really is distracting, especially because the clavichord has the least amount of volume of any keyboard instrument. I find it very difficult to tolerate which is a shame.

Now, is that my problem or his? I am not sure. Feedback?

(I think this on-going discussion is merely an exercise in complaining UNLESS we look at whether the "problem" is with the listener (i.e. I/we have little tolerance, I/we cannot get past a challenge, etc.) or with the artist. Perhaps this side of the issue actually has merit.)

Beefheart & piano
:: Posted by microsonic on February 02, 2012

Have you ever heard Cpt. Beefheart playing the piano ? As a sax player he just pushed air through the saxophone and moved his fingers, as a "piano player" he was beating the shit out of the paino ! more details in Zoot Horn Rollos book "Lunar Notes"

Re: 2001 KC Tour downloads;
:: Posted by moonchild on February 02, 2012

its only encouraged in the past tense, which i find ironic

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