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Re: valleygate on March 09, 2016 concerning Birmingham Concert 2015
:: Posted by thecapitolcardiff1971 on March 09, 2016
Having seen both the Birmingham concerts in 2015 I have posted earlier on this august message-board the excellency of the first night’s rendition of Easy Money. Mr Fripp’s solo was beyond words whilst Mr Jakszyk’s scat singing on the same song was sublime. I trust the powers that be at DGM find it in their good disposition that the Birmingham first night version of EM finds itself on to the September 2016 cd/dvd release.
"In those fair eyes where all perfections keep.
Her face was full of woe,
But such a woe (believe me) as wins more hearts,
Than Mirth can do with her enticing parts."
Teamwork and Emily
:: Posted by albemuth on March 09, 2016
I am sorry to hear that Bill Rieflin will not be on the next tour, but am sure Jeremy Stacey will do a fine job; what a pedigree he has!
In many ways, the latest KC is the best ever. Most of the material is not new, but the approach is. Most important, this might be the first time ever that KC has believably been a "team effort." In the past, the band has had a hard time sharing its vision in a way that did not offend the sensibilities of the individual players (including Fripp himself). Now the band seems finally to be "beyond all that." What a relief!
Rieflin’s contributions to this KC were very spare, like Piet Mondrian adding that last little dab of paint to Broadway Boogie Woogie. He played a key role in making the front line of drummers interlock in a way that allowed you to see and hear the teamwork.
Let me suggest again that y’all listen to Esperanza Spalding’s great new disk Emily’s D+Evolution. She has a terrifically wide musical vocabulary and I can hear a dose of prog in there (along with some jazz, funk, and Joni Mitchell). And check out the great guitar work by Matthew Stevens. His own "Ashes" reminds me a little of "Groon." Esperanza’s "alternate version" of "Unconditional Love" (especially past the 5:30 mark) captures the spirit of KC’s Requiem.
:: Posted by valleygate on March 09, 2016
When posting my comments on the fantastic concert in Birmingham I included a wish not only for a CD but also a video to be issued to share the fantastic tour event experience with a much larger group of fans. The news is that this will now happen when the autumn tour launches in September and I am all over the moon about being able to keep not only vocal but also visual memories with me for life.have ordered a bunch of Toronto CD’s released via Burning Shed March 17th to give as presents to my very best friends and they can expect to receive further KC gifts as 2016 progresses. In addition I have already bought tickets for Aylesbury and Stockholm and am working with my Danish friends to get tickets also for Copenhagen. It might look like I am going over the top seeing three performances in a months but trust me, after seeing the concert in Birmingham there is so much to take in so three is only a start.
:: Posted by martin9 on March 08, 2016
Orpheum and T.O...? The boner I got during Sailors Tail were equal...
The Great White North
L.A. vs Toronto
:: Posted by martin9 on March 08, 2016
O.K. kids. I think We need to calm down a little when comparing the 2. When Orpheum was released a year ago, We were all wetting ourselves in our posts. And this year? It gets slagged. Why? In My humble opinion the new release, as I described to a trusted CrimHead ( who was at the 2 T.O. shows) is that T.O. is more in Your face. I.E. it has more compression added !! Now, all of us who read or post here all have different rigs We listen on, so We all hear things differently. To me, Orpheum has massive dynamic range (opposite of compression) as a Hi-Rez recording should. T.O. as a download or hardcopy is C.D. quality... Which prompts a question. Hey Sid!! Will there be Hi-Rez files on the upcoming releases??
Not Forgetting Pat...
:: Posted by emmapeelfanclub on March 08, 2016
With discussion taking place here lately about the drum trio generally hinging around Bill and Gavin, I feel I must put in a word or two for Pat Mastelotto. I think the three of them are all superb drummers with their own character and strengths who clearly worked hard to pull off this unusual idea. Of the three, Pat was the one who grabbed me the most on the 2 occasions I saw them being perhaps the most visual, prowling about his area, bashing on odd looking contraptions, and playing with an impassioned power, fury and concentration that I found remarkable. He clearly enjoys his role in the band and adds to it with fine grace and humour. I came away from those shows blown away by the whole thing - the teamwork, the elements that make up King Crimson - but also with much more respect for Pat’s talents.
As for Jeremy Stacey, I trust Gavin, Jakko and Robert’s judgement and am looking forward to seeing and hearing what he brings to the drum trio set up and Crimson as a whole. It’s King Crimson - they change and evolve and I’m sure Jeremy’s presence will bring it’s own freshness. I readily admit, I’d not heard of his name before, but his CV is impressive!
Lastly, as a brief sidenote, my kudos and thanks to David Singleton and Mark Vreeken for their work on mixing the Toronto show. The overall reaction to it speaks volumes. I don’t think I’ve ever seen so much positivity and excitement about a Crimson release like this before!
:: Posted by Bakullama on March 08, 2016
I know this has nothing to do really with anything, (cuz thats the way I roll) but In my opinion one of the best albums to come out of the 80s was Aztec Cameras "High land hard rain" . Killer album!
:: Posted by taliesin on March 08, 2016
In David S’s tantalizing diary entry he talks about a KC book being ready this year - is this the long-rumoured update of Sid’s masterwork/toxic tome (depending on perspective)?
Drums and Words
:: Posted by DannyX on March 08, 2016
To me, the three drummer front-line was and continues to be nothing more than a gimmick...and of the three, BR seemed the least connected to Crimson, other than his previous work with RF. That being said, with all the work they apparently had to put in to ’reinvent rock drumming’, seems a shame to have to start over again.
See today’s diary entry. Coming shortly.
:: Posted by gasmrv on March 08, 2016
Far too civilised/restrained, in my view, the B Rieflin ‘departure’ by guest-bookers, so far. — I was perhaps not shocked but, frankly, very, very surprised.
I saw KC twice in London 6 months ago, and my favourite drummer/percussionist, in the end, was Gavin Harrison (it was a toss between him and BR, but GH was really it for me). Bill Rieflin’s playing was not only superb—very often subtle, delicate, with finesse, and his (physical) presence was ‘markedly’ noticed (by me)—and yet, as days went by something kept me sort of bothering about BR’s playing/role in this KC. I came to the conclusion that it was arrogance; arrogance in an understated way. I know about arrogance because I have been quite arrogant myself, and though I’ve been trying not to be so for a number of years, I still find myself being very much so more often than I’d like to admit (even to myself).
One thing I liked/‘appreciated’ about Jakko is how vulnerable he seemed at times…and even master drummer, GH, and Pat seemed so at times. This ‘vulnerable’ aspect, to me, is, amongst other things, another important aspect I’ve realised has made KC very appealing to me. Mel seems even more vulnerable and is a reason, too, why I enjoyed his playing and presence so much.
How much has BR contributed to KC’s new material? The bits I’ve heard so far (both live and in both CD releases) are, so far, very Frippish, which of course is not a bad thing at all, but I really do wish for something truly new/different (lately I’ve been listening to lots of Bowie and RF’s contributions are simply and utterly remarkable, contributions that made some of Bowie’s music, er, truly new—I wish for something similar in this new KC—something genuinely different…and daring, bold). For the first time in a very long time there will be a more British KC (5 v 2 Americans). Will this be a good thing or is this utterly irrelevant, I wonder?
The Toronto release is absolutely brilliant, and the mastering and sonics superb — this, IMO, should be a ‘proper’ release, i.e. to the masses. Very pleased to see that for the first time in a log time a great release comes from not such a prominent place.
(Sincere apologies if I somehow crossed the line when speaking of my thoughts and feelings about arrogance and vulnerability)
As above, see today’s diary entry. Coming shortly.
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