|Fripp & Eno Live In Paris
|:: Posted by Sid Smith on Fri., Jul 25, 2014
Live In Paris. the long-awaited archive live album from Fripp & Eno is now available for pre-order.
Live In Paris 28.05.1975 will be released on September 15th and can be obtained from Inner Knot for US costumers and Burning Shed for UK and Europe.
The subject of many poor quality bootlegs, this concert - one of only a handful undertaken by Fripp & Eno - is routinely described as ‘legendary’.
Hearing the tapes in fully restored audio quality, it’s easy to understand why it attracts such reverence now and perhaps, why the shows attracted such hostility then. No Roxy Music hits, No King Crimson riffs, just a duo sitting in near darkness with a reel to reel tape recorder, improvising over the pre-recorded loops with a filmed background projection. Replace the reel to reel machine with a couple of laptops/iPads/sequencers and the core of much current live performance from electronica to hip-hop was there some thirty years in advance. At the time, audiences responded to such a glimpse of the future with booing, walkouts and general confusion.
Thanks to the discovery and restoration of the original backing tapes, it was possible - with much painstaking restoration work by Alex Mundy at DGM - to isolate, de-noise and match the live elements from the performance tapes to the studio loops to produce the final recording.
* CDs 1 & 2 feature the complete concert with full audio restoration synched with the original studio backing loops as used in the performance.
* CD3 features the backing loops without overdubs.
* CD3 also features the reversed loop for Wind on Water as used on the Evening Star album.
* CD3 also features Later On, edited from No Pussyfooting & originally the b side of Eno’s first solo single Seven Deadly Finns.
With the exception of the last two items this is the same concert that was first made available for download via DGMLive.
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Rendezvous With ToPaRaMa
:: Posted by Sid Smith on Mon., Jun 16, 2014
Pat Mastelotto and his colleague in Crimson ProjeKCt, Tobias Ralph have an album out. Entitled ToPaRaMa you can find out more details here.
Sylvian & Fripp Reissued
:: Posted by Sid Smith on Fri., Jun 13, 2014
Sylvian & Fripp’s The First Day and the David Sylvian-mixed edition of the live album, Damage are being reissued.
The albums are straight forward reissues for the Panegyric label rather than remixes or enhanced CD/DVD-A packages.
In this extract taken from an illuminating article by Paul Tingen in 1994, David Sylvian reveals the background to the recording of The First Day.
"Then, in the spring of 1993, came The First Day, a collaboration with Robert Fripp which took his fans and the press aback -- this was definitely not the Sylvian of old. The album was unusally aggressive and hard-hitting, featuring the wild, distorted and full-frontal antics of Robert Fripp on electric guitar, funky and gutsy rhythms courtesy of drummer Jerry Marotta and stick player Trey Gunn, and seriously direct and sometimes disturbing lyrics by Sylvian. He comments: "Making this album was definitely a cathartic experience, both for Robert and myself. It comes out of traumatic experiences, but it also resolves them. In the end healing takes place. In working on this album I really surfaced from the experiences of the previous years and managed to move on. It was a turning point for both of us." The two men had worked together before on Sylvian’s second solo album, Gone To Earth, in 1986 and plans they had made at the time for a further collaboration only started to come to fruition when Sylvian was asked to do a tour of Japan in 1992. Sylvian: "Robert approached me in late 1991 about whether I wanted to join a new King Crimson he was forming. Though very flattered, I decided that I didn’t feel equipped to take on the whole baggage and history that comes with being a member of King Crimson. So instead we took the offer of the tour as an opportunity to write material for an album."
The First Day was recorded between December 1992 and March 1993 at studios in New York and New Orleans, with help from Jerry Marotta on drums, and with David Bottrill behind the mixing desk. The latter two had both worked extensively with Peter Gabriel; Sylvian explains that he chose Bottrill to get away from the dry, silken sound of his long-standing recording partner Steve Nye, and achieve a more up-front rocky sound. "I had a desire to go into another sonic area. I love the warmth and beauty of the tones that Steve gets. Steve also used to give me a lot of feedback on the way I arranged things. But as I have continued to develop, it just seemed natural to move away. We’d exhausted our relationship to some degree. We might work together again, but for now I enjoy working with different engineers and co-producers."
As a result, Sylvian went into the studio with a new engineer, pre-improvised material, a new outlook on life and a new musical partner. It’s not surprising that the results turned out unlike anything he’d done before. He remembers: "In the end, three pieces were directly culled from live-performances, ’Jean The Birdman’, ’Firepower’ and ’20th Century Dreaming’, although the latter two were greatly extended and transformed in the studio. Once we had recorded these three pieces, we faced the choice of adding some ballads or making a more dynamic album. We decided that the album should be more confrontational, so we put the quieter pieces aside for the time being, and will maybe record them on a second joint album."
An interesting aspect of The First Day is that it combines the two previously rather disparate approaches to making music that Sylvian favoured -- the tightly arranged and the loosely improvised. For Sylvian, this was a step forward: "Improvisations are particularly important in collaborative work, because what’s important there is the relationship between the musicians involved. Improvisation allows that to come into focus, how you react to each other in the spur of the moment. I enjoyed working in that way with Holger Czukay and Rain Tree Crow. It means that you’re not bringing your own limitations in terms of structure and songwriting into the studio with you.
"On the other hand, what feels good whilst you improvise isn’t always going to be interesting for other people to listen to. So we spent a lot of time working on pieces and developing them. It was a challenge to make them work for other people. Neither of us had thought of putting on a piece like ’Darshan’, which is 18 minutes of rhythmically repetitive music with jazz-type improvisations going on throughout. So there was a lot of re-structuring going on in that piece, whilst at the same time I tried not to weaken the live performance that gave it its power in the first place. It was a way of combining Robert’s and my approach to recording music, and a challenge that I enjoyed."
Last December, Sylvian had a triumphant return to the London stage when he played two concerts with Fripp at the Royal Albert Hall, no less. The concert was a world away from the dark introversion of his 1988 concerts. Though never an entertainer, Sylvian (whose gear for the occasion included a Steinberger guitar, Yamaha KX88 MIDI controller, Roland JD990, Korg Wavestation A/D, M1R, Zoom 9030, Akai S1100 and Kurzweil 1200Pro1) looked relaxed and in his element. Musically the concert was close to a revelation. The First Day was an interesting album, but somehow marred by a certain ’monochrome’ mood and sound, as well as crudeness of some of the material. It may have fulfilled a cathartic function for Fripp and Sylvian and contained some excellent music, but it didn’t quite make an altogether satisfying listening experience for me. At the Royal Albert Hall though, Fripp, Sylvian and Gunn, with help from drummer Pat Mastelotto and eminent guitarist Michael Brook, put down one of the best live shows of 1993. What hadn’t always worked on the album suddenly came to life and caught fire. And some elegant and deeply moving ballads by Sylvian proved enough counterpoint for the heavier pieces. A live album with material taken from the last world tour has been mixed by Bottrill and Fripp, and will be released this summer."
Mel's Live Album In Cologne
:: Posted by Sid Smith on Fri., Jun 13, 2014
My thanks to Ulrich Spiegel who sent in the following item of information on a live album Mel Collins’ is involved with next week.
Saxplayer Mel Collins will come to Cologne to record live album with GOLDMAN
BLUE SHELL in COLOGNE, GERMANY
Wednesday. 18.06. + Thursday 19.06.2014
Entry 20h | Begin 21h
Thomas Kessler (Dissidenten, Nighthawks)
Helmut Zerlett (The Unknown Cases, Harald Schmidt Show Bandleader)
Happy Birthday John Wetton
:: Posted by Sid Smith on Thu., Jun 12, 2014
Currently hard at work with Asia, John Wetton celebrates his birthday today.
What are your favourite Wetton moments in Crimson? Share your thoughts over on the guestbook please.
Jakko's Dear Mr. Eliot
:: Posted by Sid Smith on Wed., Jun 11, 2014
Jakko Jakszyk's Dear Mr Eliot: When Groucho Met Tom will be broadcast on on Saturday 14th June as part of BBC Radio 3's Between The Ears series. The show is a musical fantasy, part drama-part documentary based on the meeting between Groucho Marx and TS Eliot - a fairly unlikely mutual fan club by any stretch of the imagination. In addition to writing the script and music for the programme, Jakko also plays the part of TS Eliot alongside Lenny Henry's Groucho.
The Independent newspaper ran an interview with Jakko yesterday about the programme and Jakko and Lenny are guests on Saturday's Loose Ends on Saturday to talk about the show.
Crimheads will not that it's not the first time TS Eliot has had an association with King Crimson. The Deception Of The Thrush takes its title from a line in Eliot's The Four Quartets and of course a sample of Eliot reading from the work also appears on many performances of that tune.
The Radio Times previews Jakko's show: Stereotypical views of the poet TS Eliot and the comic actor Groucho
Marx are blown so far out of the water in this musical fantasy that
writer Jakko Jakszyk might just as well have attached his script to a
torpedo. Eliot is no po-faced high priest of modernism and Marx is so
much more than an artist who relies upon exaggerated physicality for
Based upon a real-life encounter between the two, when
Marx went to dinner at Eliot’s London residence in 1964, it reveals the
almost boyish admiration they had for one another’s talents. A further
delight is Lenny Henry’s narration and his performance as Marx.
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