Fracture (DiN28)
14 Saturday Jun 2014
Posted in Ambient
Monthly Archives: June 2014
rendement possible?
13 Friday Jun 2014
by arbee & bleupulp
released 13 June 2014 | credit: photo by Angela Carter
Very cool & unique soundscapes from 2 ambient friends.
Graying Crimson . . .
12 Thursday Jun 2014
Posted in Tech/Glitch
http://www.dgmlive.com/news.htm
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.
| Ooh, Suits You Sir! :: Posted by Sid Smith on Wed., Jun 11, 2014 King Crimson have been having their photograph taken today by Scarlet Page. Here’s some shots taken by Trev of the boys and Scarlet in action…         |
| 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 laughs. 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. |
| NYC Tickets Today :: Posted by Sid Smith on Wed., Jun 11, 2014 It seems that tickets for the extra show in New York at the Best Buy Theatre on Sunday 21st Sept are going on sale today at 12.00 noon and not Friday as we reported yesterday. Check out the details here. |
| King Crimson At Work And Play :: Posted by Sid Smith on Wed., Jun 11, 2014 Taken from last night’s Facebook update by Trev Wilkins. 
After the excellent rehearsal (those drummers are so good and great things from Mel) we spent some time working on the guitar sounds and updating our previous user presets. Tomorrow we have photographer Scarlet Page coming to tale some band photos so the band will all be in Sunday best! Afterwards some of the time took themselves to a local hostelry for a well deserved meal and chinwag.  Here’s a shot posted by Gavin on his Facebook page. He writes “King Crimson full band rehearsals !!! In a much bigger room this time. Lots of good stuff happening.“  |
| New Date Added To King Crimson Tour :: Posted by Sid Smith on Tue., Jun 10, 2014 Due to demand an extra concert has been added to King Crimson’s run of dates at the Best Buy theatre in New York.  The additional gig takes place on Sunday 21st September. Please note that the tickets for this show will go on sale Friday 13th at 12.00 EDT. Who says Friday 13th has to be unlucky? The revised tour dates are as follows
Tue 9 Sep Albany, NY The Egg |
The Return Of The Savage Seven
:: Posted by Sid Smith on Tue., Jun 10, 2014
Rocking the Dunhill tie look at yesterday’s rehearsals in Elstree, the Old Goat himself…
The Old Goat’s rig…
Bill and Mel embody The First King Crimson Principle:Enjoyment is encouraged…..
Much talking…
Eno/Hyde: DBF
10 Tuesday Jun 2014
Posted in Tech/Glitch
elements _ short story
08 Sunday Jun 2014
Posted in Jazz Fusion
A [slightly] shorter elements jazz mix…clocking in @ slightly over sixty-eight minutes; reworked with a track from the new Ben Monder album & some segue tweaking/fading. . .
01 andrew cyrille & ben monder – hematophagy
02 jan garbarek – still
03 nik bärtsch’s ronin – modul 13
04 metheny, holland & haynes – old folks
05 john scofield – jeep on 35
06 van morrison – the eternal kansas city
07 miles davis – it’s about that time
08 stanley jordan – freddie freeloader
09 pat metheny – sariel
The Silence And Awe Of Arvo Pärt
04 Wednesday Jun 2014
Posted in Uncategorized
is one of the few living composers to find popularity beyond the borders of classical music. ‘s Michael Stipe and are . Although the 78-year-old musician usually shies away from acclaim and the media, he is currently attending a festival of his music in New York and Washington, and he made time to talk about his music, bike riding and bells.
Pärt is a major composer, and I was a little nervous meeting him. So I brought along a bell for good luck. I set it on the table between us and gave it a little tinkle.
“Oh, this is a good beginning, thank you,” he said in his heavily accented English.
Pärt likes bells, literally and figuratively in his music. He also likes space and silence. Fans tend to use words like “timeless” to describe his contemplative music. But for Pärt, time has deep meaning. In conversation, as in his music, he takes his time to unclutter his thoughts. They come out like poems.
“Time for us, is like the time of our own lives,” he says. “It is temporary. What is timeless is the time of eternal life. That is eternal. These are all high words, and so, like the sun, we cannot really look at them directly, but my intuition tells me that the human soul is connected to both of them — time and eternity.”
Pärt has gravitas to burn. But he didn’t start out that way. As a kid in Soviet-era Estonia, he practiced on a battered old piano and rode his bike around the town listening to Finnish radio broadcasts. I told him that I strapped a transistor radio to my bicycle when I was a kid. “It’s very interesting,” he responded, with a slight twinkle in his eye.
Early on, Pärt wrote thorny, atonal music in the style of the day. But in 1968 he hit a wall. He went nearly silent for eight years, and when he returned, it was with something completely different. Slow, pure, simple, yet powerfully focused is how conductor Stephen Layton describes the music: “If you had to give an aesthetic for his compositional output, less is more is certainly it,” Layton says.
A choral specialist, Layton has recorded two albums of Pärt’s vocal works (a third is scheduled for this fall). Layton says after the complicated music that dominated the mid-20th century, Pärt’s new style, with nods to Gregorian chant and Renaissance music, wiped the slate clean. Part of Pärt’s breakthrough, Layton says, came from hearing just three notes in a supermarket.
“Over the public address system one hears the sound ‘doo, doo doo’ ” — Layton sings three descending tones — “‘Could so-and-so please go to till No. 25?’ Now that sound is called a triad in music, but it’s actually the building block of all music in the Western world.”
Pärt realized the beautiful simplicity of the triad and ran with it. He called his newfound style “tintinnabuli,” a word referring to little tinkling bells. Another ingredient in the recipe is silence.
“On the one hand, silence is like fertile soil, which, as it were, awaits our creative act, our seed,” Pärt says. “On the other hand, silence must be approached with a feeling of awe. And when we speak about silence, we must keep in mind that it has two different wings, so to speak. Silence can be both that which is outside of us and that which is inside a person. The silence of our soul, which isn’t even affected by external distractions, is actually more crucial but more difficult to achieve.”
Pärt’s musical combination of awe and silence caused German record producer Manfred Eicher to pull off the autobahn when he heard Tabula Rasa on the radio. “It was music you discover that makes you speechless, breathless and thoughtful,” Eicher recalls. “Yes, I wanted to be closer to this music.”
It took Eicher, the founder of ECM Records, six months to track down Pärt and a few more years before he released Pärt’s first ECM album in 1984. The album, which included Tabula Rasa for two solo violins and chamber orchestra, opened the door to the West for Part’s music. Thirteen records have followed on ECM alone, with albums appearing on other labels as well.
Pärt’s austere music and his penchant for religious texts (he embraced Eastern Orthodox Christianity in the 1970s) have lent him a certain reputation, says countertenor David James of the Hilliard Ensemble, a group that began championing Pärt’s music in the 1980s.
“A lot of people have this impression,” James says, “that he’s a bit of a recluse, sort of monk-like. Yes, when you see him. But as soon as you speak to him and get to know him, I tell you, he has the most wonderful sense of humor and a most engaging personality.”
I asked Pärt how he likes being thought of as a mystic. He laughs.
“Ah,” he says, “that is the last thing I want to be.”
Pärt turned out to be exactly as James described him — engaging and personal. And at the end of the interview, he even said we had something in common. That’s when he held up his hands, as though he were holding the handlebars of a bicycle.
Ambient Landscape 