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| :: Posted by Sid Smith on Tue., Mar 13, 2012 |
My thanks to World Leader Symes who tells me "In this month's Q magazine there is an
interview with Graham Coxon, the guitarist with Blur. I think the
article is called The Soundtrack of My Life. He is holding a copy of the
album cover (vinyl!) for Court and this is what he says:
Q: What album do never tire of hearing?
King Crimson’s In The Court Of The Crimson King is an album I can become pretty obsessed with. I can’t listen to it just once, I have to listen to it again. Immediately. It has really pretty, fairy sort of songs on it and quite big ones. It’s just so exciting. It’s just my favourite things: organs, drums and guitars all going mental!
More news
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Well Fancy That...Part 823
:: Posted by Sid Smith on Wed., Feb 22, 2012
My thanks to Festus who came upon this story in the NME about the difficulties artists have making money from YouTube. Festus writes "Interesting that the band have figured out that they aren't being paid
by their old label (EMI !!!!!) for their videos being streamed. I'm glad I play bass with friends as a hobby, it would brreak my heart to get involved in such a bad business."
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Orchestral Soundscapes In Concert
:: Posted by Sid Smith on Wed., Feb 22, 2012
My thanks to Fred Bruinenberg for reminding the news page that tickets for the Orchestral Soundscapes concert in the Netherlands on May 6th 2012 are now on sale. The soundscapes are orchestrated by Andrew Keeling, based upon Bert Lams' transcriptions of Fripp's preferred method of making a lot of noise with one guitar. Though Robert is not performing at this concert in May it is hoped that the long-awaited CD of orchestral soundscapes performed will be available at the time.
Andrew Keeling himself has a new album of contemporary classical music out next month called Unquiet Earth. Check out the Spaceward website for further details.
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Mister Stormy's Monday Selection
:: Posted by Sid Smith on Mon., Feb 20, 2012
Mister Stormy treats us to another glimpse into the recording of King Crimson's debut album with Robert, Greg and Michael working their way through the end-section of The Court Of The Crimson King.
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P2 At Albany Again
:: Posted by Sid Smith on Mon., Feb 20, 2012
My thanks to J Eric Smith for sending in this marvelous review of P2 playing Albany. You can hear the gig that Eric is writing about here.
Eric writes "I was a music critic (for better or worse) in Albany, New York for many years. My wife and I recently relocated to Des Moines, Iowa, and as part of launching a web presence in my new home community, I have been reviewing old archives of my work for items that might lend themselves to new purposes. I found a ProjeKCt Two live review (copied below) while digging through old floppy discs and files, and thought I would share it here, since I have not seen many other formal newsprint reviews from that era posted here. It was a lovely show, one that I still cite as one of my all-time favorite live performances.
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ProjeKct Two
Valentine’s Music Hall, Albany, New York, May 8, 1998
Copyright 1998, J. Eric Smith (Originally appeared in Metroland, The Alternative Newsweekly of Northeastern New York)
"OK, now we’ve played everything we don’t know,so we can play something that we actually do know," announced electronic drummer Adrian Belew at the end of ProjeKct Two’s second all-instrumental, all-improvised set. Belew, 10-string Warr guitarist Trey Gunn and electric six-string guitarist Robert Fripp then encored with King Crimson’s "Vrooom," an angular number originally created by Fripp, Belew, Gunn and their Crimson bandmates Tony Levin, Bill Bruford and Pat Mastelotto.
As nice as it was to hear "Vrooom," the true value of the encore was to place the evening’s improvisational extravaganza in context by providing a single sample of how ProjeKct Two sounded when tackling a fully developed and structured instrumental piece. Frankly speaking, the encore paled in comparison to the 90 minutes of music preceding it, as its rehearsed complexities and nuances were nowhere near as impressive as the knotty, towering sound collages that ProjeKct Two created on the fly as the rapt audience watched and listened.
Fripp, Belew and Gunn were watching and listening to each other as well, and much of the thrill of this concert came from witnessing the interactions between these deeply talented musicians who have played together long enough to anticipate each other’s thoughts, sometimes before they eve realize that they’ve had them. Belew or Fripp typically opened each number with a drum or guitar pattern that the other musicians would would investigate, mount and ride, sometimes to loud and uplifting summits, sometimes to quiet, scary grottoes, sometimes back to the point at which they started. It was actually harrowing to experience in many cases, as the trio careened just on this side of control as they rode, the looks on their faces indicating that it was just as thrilling (and frightening) for them as it was their audience.
As important as technical prowess was to the concert’s success, mention must also be made of ProjeKct Two’s technological proficiancy. Belew was playing the latest generation of Roland virtual drums, allowing him to create a seemingly infinite number of sonic assaults as he clattered and rattled along with a look-Ma-I’ve-got drums grin on his face. (Understandable, given that he’s normally a guitarist.) Gunn matched Belew’s rhythmic and textural intensity as he tapped, stroked and and beat the touchboard of his Warr guitar.
Fripp spun out any number of his trademark spine-tingling sustained guitar lines but also used the treatment technology he has developed over the years via his Soundscape and Frippertronic performance experiments to create a wealth of tones and intonations. At times, the bands’ sounds were so far skewed from what your eyes were reporting to your brain that it was almost psychologically easier to look at the floor and imagine that Fripp was playing cluster chords on some beaten-up jazz-hall piano while Gunn blew on a baritone sax and Belew kept time by tapping on whisky bottles and ashtrays. Crazy, man, crazy.
All told, ProjeKct Two’s concert was a magnificent one, and I must confess to feeling great relief in being able to report that. Why? Because Robert Fripp’s written and recorded works have done more to shape both how I listen to and how I think about music than have any other artist’s over the last two decades, although I never actually stood in the same space with Fripp until last Friday. So imagine the potential for debilitating disappointment at this show, and then imagine the transcendent relief and joy when it didn’t come to pass. It literally moved me to tears. And how often can a wordless concert do that?"
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Thrak On A Plate
:: Posted by Sid Smith on Sat., Feb 18, 2012
My thanks to Adam Aronson for sending me this picture of his recently acquired personalised number plate.
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iTony eBook?
:: Posted by Sid Smith on Thu., Feb 16, 2012
My thanks to the mighty Vargan for alerting me to this item from Tony's website. "I have the opportunity to re-release my photo book, Crimson Chronicles
in digital format (for iPad). It will feature all the photos, but also a
lot of extras, including other
shots that didn't make it to the original book. So, that's got me
digging through my files for photos, itineraries, tour passes, and music
I can use for that release."
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GC Down Mexico Way
:: Posted by Sid Smith on Wed., Feb 15, 2012
Robert Fripp will be directing an introduction to the Guitar Circle in Mexico in 2013. You can check out the details over on the Guitar Circle website.
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PJ's Jockeys Jigsaw
:: Posted by Sid Smith on Wed., Feb 15, 2012
My thanks to CantspelldiKc for the following snippet of information. "If you would like an affordable PJ Crook item you can go to the
Injured Jockeys Fund website for a cool mini wooden jigsaw puzzle for
only 5 pounds. Pretty sure thats less than 100 dollars."
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