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KC and Flaming Lips
:: Posted by DrEngel on October 26, 2012
not sure if this tribute album has been discussed yet in the forum .... you can hear Moonchild at this link
http://thefutureheart.com/2012/10/15/crimsonking/
LTIA Box Set Delay in US?
:: Posted by rtkcfan on October 26, 2012
I’m really confused by all of the release date changes!!
Can anyone confirm whether or not the LTIA box set is going to be released in the US next Tuesday like it’s supposed to?
:: Posted by Carnamagos on October 25, 2012
"In the latter case, I can agree that the modal approach certainly could make for a good deal of self-indulgent irrelevance, in the wrong hands."
In the end, that’s really the point: Any musical technique can lead to poor results or dead ends if not employed properly, including chromaticism. That’s in part what makes the false dichotomy of modes vs. chromaticism so pointless, even silly.
Softly speaking
:: Posted by kevinz on October 25, 2012
Surprised there has been no mention of this weeks series of gigs by The Soft Machine Legacy, featuring Theo Travis. The European dates are nearly done, but two stops remain. Their concert in Frankfurt tomorrow (26 October), will include, along with guitarist John Etheridge, bass player Roy Babbington, drummer extraordinaire John Marshall and the aforementioned sax and flute blower TT, none other than the rarely seen or heard, one-time pianist of a certain mighty beast, Keith Tippett! The show will be part of the Deutsche Jazz Festival. Final concert by the SML is in France (Erce at the Jazz Festival there on the 27th; without Keith, but surely a grand time shall be had by all.)
1985
:: Posted by RSushko on October 25, 2012
- from RF’s Diary "Today is the birthday of Toyah’s Mother, Barbara. This is also the wedding anniversary of Barbara and Beric: they married on Barbara’s twentieth birthday.
It is also the anniversary of the first time I kissed Toyah, in 1985."
Ah yes, I was a Crafty in ’85 and Toyah was in the first group we put together to play at a local pub . . . we played "Baby’s on Fire" and Robert heckled us from his bar stool!
That year was a musickal rite of passage for me, thank you Mr. Fripp!
Ancient Crafty,
Robert Sushko
Jimmy So Vile...
:: Posted by Frippouille on October 25, 2012
Hello Mr Fripp. I’d like to bring this to your attention. It’s an article with an interesting point of view about the Jimmy Savile affair. Have a good day! Philippe
modal man
:: Posted by johannes on October 25, 2012
"I stand by my original premise to the dizzying array of possibilities: 12 notes, rhythms can be subdivided and displaced."
Of course, I don’t want to even mention the "overtones? what overtones?" compromise of equal temperament, but it looks as if I just did. That’s an issue that the users of the old modes never dreamed of, dealing as they did with pure musical physics, rather than with the desire to play in as many "keys" as possible. It’s also arguable that chromaticism led to an over-simplified impoverishment of mood (i.e., happy-major, sad-minor), compared with the eight emotions associated with the eight modes. That distinction is lost now.
But as it is, I’m really coming at this more from a Gregorian-chant-Renaissance-polyphony perspective than from a hot-date-on-the-bandstand perspective, which is probably what I meant by apples and oranges. In the latter case, I can agree that the modal approach certainly could make for a good deal of self-indulgent irrelevance, in the wrong hands.
Joke for emory0
:: Posted by JeffTruzzi on October 25, 2012
How do you make a guitarist turn down?
Put a chart in front of him.
;-)
Re: Stick Men - Posted by timi0000
:: Posted by apisch on October 25, 2012
Several tracks from the new album may be heard via the Stick Men’s PledgeMusic web site. There is also a free download of one track entitled Hide the Trees.
Ultimately
:: Posted by Ornate_Coal_Man on October 25, 2012
paulstewartkent, yes, excellent points, it’s about context. Also, at high level (read: professional) performance, particularly of an improvisatory nature, if one is thinking--particularly of "what" to play over "what", one will stumble, stutter, get lost, be left way behind, i.e., one is pretty much f*cked. All that meticulous planning/organization/conscious imposition of structure is for the practice room.
Performance is like having an instantaneous convo, as so many aural/auditory colors fly by instantaneously. If you you have to think, you are screwed.
As a very wise piano player said, the problem is not that you are not playing exactly what you are hearing--it’s usually the opposite. The problem, alas, for many of us (first and foremost, myself) is that we are playing EXACTLY what what we hear. Ergo, our hearing is not VIVID enough.
As proof, he used a Dizzy Gilespie example. Mr. Gilespie was once asked, "what goes through your mind when you are soloing?" Great question. He answered something, "well, most people think it’s something like (mumbling) "do-be-be-do-wap-do-bee-dat", when in fact it’s really (screaming) "DO-BE-BE-DO-WAP-DO-BEE-DAT!!!!!!!!!!!!!!!!!!".
That is to say, the music is so vivid, so forceful, so alive in his mind, it has no choice but to be brought forth into the world. :)
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