Beatle George – the influence of a leg end

I grew up in the Beatle Era. The Beatles invaded America when I was four, five years old. One of my earliest memories is of, standing on the lawn of the family home at 6728 Mineral Drive, in what is now San Carlos, California and hearing the sparkling guitars and soaring vocal harmonies of a new Beatles track called “Nowhere Man”. I’ve never been able to forget that moment, because from then on, the Beatles were “my band”.

I wanted to be George Harrison; I wanted a guitar for my ninth birthday, and, I got one. But I didn’t end up learning to play one properly until a bit later, when I was 12, 13 years old, and there were all these amazing new groups and albums like “Led Zeppelin II” or “No Time” by “The Guess Who”, so much amazing music to explore…

But I never ever got over my initial love for the music of the Beatles,and it really was, for me, the sound of the guitars that reeled me in, that caught my ears and my attention…in particular, the sound of George Harrison, who played a really magical role that was called “lead guitar”. The guy who had to be serious, had to play the most difficult parts live.  For several years, I only had albums by The Beatles…I mean, you don’t really need anything else, do you?
I wanted to be that guy, I really did want to be George – and later on, as George grew as a songwriter, turning out amazing tunes like his trio of songs from the “revolver” album:


Love You To

I Want To Tell You

…surely, three of the most amazing “pop songs” ever written or recorded, sheer Harrison genius – nobody saw it coming, we all figured, Lennon and McCartney, those are the two guys to watch in this band, those are the writers….well, yes, but really, all four of the Beatles were the writers, and even Ringo wrote some great tunes…but for me, it’s always been all about George, those odd B-sides like the astonishing “Old Brown Shoe” or the seriously beautiful “The Inner Light”…where do songs that unique, that incredible, COME from?

The imagination of one man, Beatle George. The mind that brought us the wit of “Piggies” and the warning of “Savoy Truffle” but then there was his lead guitar playing too, not just on his own songs, but on many of those Lennon andMcCartney songs, too. A new kind of lead guitar, razor sharp fuzz tones, detuned guitars (think of the lead solo in “Fixing A Hole” from Sgt. Pepper) when you heard it, you knew it was George. A simply brilliant guitar tone, and a beautiful, concise style.

As the years progressed, George got into playing slide guitar, and very very quickly, developed a trademark slide guitar “tone” (think of the slide guitars on John Lennon’s “How Do You Sleep?” from the “Imagine” album) some of George’s finest slide work…you should hear the out takes from that session, too, on the Lennon box set…amazing slide guitar. But the special tone George got for his slide parts, which really only reached full maturity by the time of his second solo studio album, “Living In The Material World”, which, by the way, is an amazing collection of truly beautiful songs…you owe it to yourself to hear this record if you haven’t done so, so far…its quietly brilliant.

George was always economical with his guitar playing, he never over played, and it was that economy, which at first, was an enforced economy, it was Beatle-driven, here’s your eight bars George, go for it – so George learned to play well in a very small piece of allotted “solo” time. As time progressed, George did play some nice, longer solos, but that economy was always present, he always reigned himself in and never got boring or predictable.

You never knew what you were going to get with George, and his own songs were a mystery even to the other Beatles, who would bemusedly play on, say, 102 takes of a song like “Not Guilty” without complaint, as George continued the search for that elusive ‘perfect take’, and if it took 102 takes then that’s what it takes.

In some cases, no Beatles version was considered “good enough”, so we simply waited, and eventually we did get to hear the properly recorded version of the song “All Things Must Pass” – on a George Harrison record, not on a Beatles album. The same held true for “Not Guilty” where we had to wait even longer for George’s “perfected” version – again, on a George Harrison album, not on a Beatles album.
If you happened to own or know where to borrow the right Beatle bootlegs, then you might have at least heard the Beatles’ versions of “All Things Must Pass” and “Not Guilty” but most people had to wait until George put out the definitive editions of those songs.


I never minded waiting, although I do remember being very impatient to get George’s first solo album, the three LP “All Things Must Pass” and I first heard it in Uganda, in the home of some Peace Corp workers who had the brand new pre-recorded cassette version of the album, so that was very exciting, and then I got to hear it in Amsterdam, too, in a massive record store, complete with 60s erotic posters (“wow” was all I could say) – where I had to motion to the bored Dutch girl to turn the record over again, please…five times, because I didn’t know a single word of Dutch.

I finally purchased my own copy, in the Netherlands, and took it back to the USA with me, where I played it endlessly. The only record that excited me more than ATMP was the forthcoming “Concert For Bangladesh” which was another one I just couldn’t wait for, the idea was fantastic, half the Beatles plus Clapton and even the reclusive Bob Dylan…here were another six sides of amazing music, but amazingly, over time, it is Side One that stands the test of time the best, with Ravi Shankar on sitar, and the amazing Ali Akbar Khan on sarod, Alla Rakah on tabla…their piece of Bangladeshi folk music, “Bangla Dhun” just absolutely blows me away. These performers are at the top of their skill level, and are playing with speed, accuracy, and sheer musical joy….its amazing to see it in the film version, it truly is the best part of the concert!

That performance opened up my fourteen year old eyes to the sheer beauty of Indian melody and music, and I followed the careers of Shankar and Khan until the present day. Each the master of their instrument, I had George Harrison to thank for bringing that music into my life. And years later, that led me to a house concert at Ravi Shankar’s house in Encinitas, California, where I sat on the floor and listened to Ravi’s daughter play with the remarkable Bikram Ghosh on tabla…a remarkable “house concert” that I will never forget.

I was lucky enough too, to see Ravi and Anoushka performing live in more standard music venues, too and their music has always blessed my ears with its beauty.

So the influence of George Harrison changed me as a person, so much, that I went from being a fan of pop and rock, to being one who also loves the sarod, and loves listening to the master of the sarod, Ali Akbar Khan, play the sarod. Sure, it started on TV, watching the famous Ed Sullivan show where the Beatles performed, and seeing how serious George was, playing his lead guitar lines so carefully and so perfectly, and taking his concise eight bar solo so carefully, too…

Then it was the movie “A Hard Day’s Night” watching George playing his intensely cool guitar parts on film, trying to analyse what he was playing, on something like “You’re Going To Lose That Girl” trying to understand what he was doing with his guitar parts and then, that mad solo…amazing stuff. All the while, singing his harmony vocal parts as if they were easy, as if the guitar part was easy, he made it look easy!

And then there was that tender rendition of “And I Love Her” the first great Beatle love song, and that was my first exposure to nylon string classical guitar, and George worked it out and played the lead parts beautifully in that tune…really simple, yes, but really effective and quite beautiful when you are a young George-guitarist-wannabe like I was…I thought that performance was incredible, and really beautiful…and a lot of that is down to how George handles the nylon guitar part.

That inspired me directly, seeing George play on TV and in films, and hearing him on record, too, on vinyl, was a true inspiration for a budding teenage guitarist such as myself. But later,by presenting the music of Ravi Shankar and friends to the Western world, that opened me up to an entire new universe of music. Thousands of years old oral traditions, of the sitar and the ragas, or rags, that Shankar learned from his teacher, that stretched.back in time, an amazing musical heritage and proud tradition…brought to me by Beatle George.

He really was The Quiet Renaissance Man of the Beatles, later, he brought an entire Indian orchestra into the studio to record “Within You Without You” in 1967…and in 1974, at the Los Angeles Forum, I saw a different Indian orchestra perform, led by Ravi Shankar, the opening act for the first of just two solo tours undertaken by George, live in 1974, playing brilliantly but with a hoarse voice…and again, in less stressful times, 1991 in Japan with his old friend Eric Clapton.

I feel so privileged that I got to see George play, and his guitar playing was awesome, including some of that amazing slide (in the first song, no less) and it was a night I’ve never forgotten. In fact, over time, I managed to see three of the four Beatles perform live…so I am very fortunate indeed. Only Lennon eluded me, but three out of four is not bad at all. At that 1974 Forum gig, George even played his specially modified version of Lennon’s “In My Life” and that was really cool.

George Harrison, the guitarist, was a huge inspiration to me as a kid, and I absolutely took up the guitar because of him, and the rest of the Beatles too. When I was a kid growing up, the Beatles were our heroes, and they raised the bar so high, that soon they became the benchmark to judge new groups by: “they’re OK, but they are not as good as the Beatles” – I don’t know how many times I said that about groups, or if a group was good, you’d say they were “almost as good as the Beatles”…it was the benchmark by which all other groups were measured, for years after the Beatles themselves broke up…we still judged new bends against their music….

Sure, in time, as I grew older, there came guitarists with more technical skill than George, but most of those players, probably looked up to the Beatles in the same way I did. OK, George was no Steve Howe or Robert Fripp, but, George did write “Something” and “While My Guitar Gently Weeps” and “Taxman” and “If I Needed Someone” and “The Inner Light” and “My Sweet Lord” and “Within You Without You” and “Here Comes The Sun” and…

I could go on, but you get it, I’m sure. George didn’t need to play like the proggers, because the proggers built their music on the back of the Beatles and atop the pop music from the end of the 60s, and George’s guitar playing was what it needed to be to realise those songs.

And that includes the whole of “All Things Must Pass” including the remarkable “Apple Jam” where we do get a hint of George’s guitar prowess, holding his own even against Clapton, and sounding amazing across the entire Beatles catalogue, from the very beginning, and on through his 1970 masterpiece, “All Things Must Pass” as well and also on  “Living In The Material World” – and occasionally on his later records.

Some of his best guitar work can be found on his 1971 solo album, “Living In The Material World” – especially “that slide” sound; but it cropped up whenever it was needed…on Lennon’s “How Do You Sleep?”, on the 74 and 91 tours…not to mention his standard soloing, on “Apple Jam”, on “Something”, where he famously asked to record the solo along with the live strings overdub, to get a more “live” feel for the solo – and of course, that was the take – the keeper. And what a beauty it is, too.

There are so many specific examples of great Harrison guitars, that I could just keep listing them, but instead, you should just listen…and you will hear them. I certainly did.

What I would give to be able to write a song like “The inner Life”. Or “Something”.  Or maybe one that is half as good :-).

Yes, I’d settle for that, thanks.

We miss you, George.


Post-GuitarCraft Depression? Is that a thing?

Hello again

I’m recently returned from my latest Guitar Craft adventure, working for a short week and then giving a live performance, along with 61 other “Symphony of Crafty Guitarists” guitarists, that was stratospheric in every way.

It was an incredible experience, and my first impulse was to write at length about it – which I may well do in the future, but right now, I wanted to ask a question – I am wondering if any other attendees of Guitar Craft (or, Guitar Circles, I am now beholden to say as well) courses, suffer from this (possibly imaginary) malady, not just now, but over time – across the years – which maybe I am the sole inventor of, I don’t know.

My life is pretty ordinary – I live in an ordinary town, I have an ordinary job in that ordinary town, and ordinarily, I work on music at home, with the occasional Internet collaboration, because of a disability that makes performing very difficult indeed.

So attending Guitar Craft courses, which I’ve done in a very, very intermittent way, over many, many years (since September, 1988 in fact!) is a huge, huge privilege and it’s a real highlight – a rarity, for a number of reasons:

  1. A chance to socialise with like-minded musicians and others
  2. A chance to practice Alexander techniques – great for highly strung or stressed out people (i.e. me, a lot of the time) or, do Tai Chi – and, meditate regularly, too
  3. A chance to perform with like-minded musicians and others
  4. A chance to spend one week in a very positive, very safe, very forward-looking environment
  5. It’s something enjoyed only rarely, recently, every five or six years perhaps – therefore, a huge treat for me
  6. It’s something very memorable
  7. It’s an occasion where you meet up with old friends, and renew those friendships (yes, I’m talking about you, Frank, and you, John Lovaas, and you, Ray Peck)
  8. It’s an occasion when you meet new friends, some of which, will stay so for many, many years (I’m talking about you, Pablo, and you, Jules, and you, Jamie! – you all know who you are!)
  9. It’s something very special in an otherwise very ordinary life

So when you only experience this once every five or six years, that strange, strange feeling – that people think you are a good guitarist, that people look up to you and respect your musical ability, that people want to jam with you, that people want to hang out with you – whereas, in your normal life, where there are few to no like minded musicians or people – doing any of those things is very difficult to downright impossible.

Recently then, since it’s now almost a week since the end of the course, I began to have moments where it all became a bit too much for me, and I really wished I could be back in that house, back at Koos Vorrink, in Lage Voorsche, in Holland – you just wish that the course could maybe run a bit longer, or you could somehow bring that environment back with you, and continue to live among like-minded colleagues, whom you respect, and, who respect you.

I am one of the most isolated of all Crafties, being the only Crafty guitarist in the northern part of Britain, and my disability prevents me from any chance of any regular meetings with those very few other Crafties who do reside in Britain – mostly, waaaay down south where that round yellow thing * can be sometimes seen in the sky.

Other symptoms include but are not limited to:

  • no desire to hear music of any kind
  • no desire to play or perform music of any kind
  • no desire to work on music of any kind
  • a craving for silence – silence is what I crave – silence as experienced at the course I was just on

So it can be daunting, coming back to that ordinary life, and not putting away the stack of spare strings you took with you to the course, or the gig flyer, just leaving them on your desk to remind you, to make you feel like you are still there.  Don’t get me wrong though, I am so, so glad to be home, home is where the heart is, and I truly missed home while I was away in Koos Vorrink.  I am very glad to be home, and especially glad to no longer be parted from my partner.

I am not depressed in the normal sense, I am fine, but there is an odd feeling to life now, I miss the routines of Guitar Craft, the communal feeling at meals and at other times of shared work or play – and I’ve rarely seen a course run so smoothly as this one did, the kitchen was amazing, Fernando should be crowned king and…some of those desserts – wow!  What can I say?  As a veteran of many, many Kitchen Craft courses, I know exactly what it takes to run a kitchen for a large group like this, and the hard work and intense effort that goes into it, is almost invisible when you are on the receiving end of yet another amazing dish or dessert – it’s flawless.

The quality of that performance, absolutely inspired and fed into the quality of the musical performance of October 15th, 2015 (at Koos Vorrink, Lage Voorsche, Holland) which for me, was one of the single most amazing things I have ever been a part of, in my entire life – simply astonishing.  I’ve never heard or seen anything like it before, even my original “Orchestra of Crafty Guitarists (I)” course performance in Sant Cugat, in 2009 – which was brilliant – was not quite the performance that THIS was.

And here I am now, talking about the course, rather than about my reaction(s) to the course – my recent feeling of being adrift in the ordinary world, so I will have to reign that impulse in, and not describe that amazing performance right now – that’s for another time.  At the moment, I want to say, I can remember this strange feeling from other courses – I remember after one California course, I had to go shopping in a brightly lit, clean supermarket, with very few people in it – and each time I came around the corner of an aisle, I fully expected to see one of the 75 faces that I’d just spent the last 8 days with – and inevitably, I would feel disappointed to find that it was just a stranger – I expected the face of a Crafty, maybe holding a guitar, maybe clearing away dishes, but – someone I knew.  those [however many] people on your course, become the whole universe, and when you walk out of that universe – it’s very, very odd indeed.  Disconcerting, even!

This feeling persists for days, you keep expecting to see __________ – put in the name of anyone you were just on the course with here, you expect to see that face, I expect to see Fumi coming around a corner, with that huge, huge grin on his face, always laughing, or perhaps it’s one of the Vicious Queens, intent and intense, on the way to a VQ meeting, or Fernando, worrying about the menu, but secretly, thinking about the dessert…

so – there are things that remind you – I am washing the strawberries…and I notice they are from Holland.  sigh.  I see the waffle cookies in the cupboard, which evoke every memory of Holland – too sweet, too good, too delicious to believe.

reminders, and then, going back to work, and remembering that this is my reality 99.9999 percent of the time, and Guitar Craft is some tiny, tiny minuscule part of my life – but, the impact it has, is absolutely not minuscule!  not at all.  It does stay with you, for weeks, for months, for years – and that’s both good and bad.  hopefully, I will have, perhaps, finally learned the right way to hold my pick.  I get Robert to fix it every time I see him, he fixes it, and, I get closer to the ideal, every time.  It’s progress, although it can be painfully slow progress.  But that is still preferable to nothing!  It’s an experience I wouldn’t trade for anything, I truly wouldn’t – but I just wonder if it affects other Crafties the way it sometimes affects me – it’s not so much a negative, as just a reminder of how ordinary life outside of Guitar Craft can be.  And how it makes you feel when quite suddenly, thanks to the extreme time compression of the Guitar Craft experience, you are thrust back into the ordinary world, and you start having to worry about connections and planes and trains and cabs and all that.

it’s jarring, it’s difficult to re-adjust, and after about a week, I don’t feel as if I have quite settled back into my ordinary life. Perhaps that is because I was part of an absolutely extraordinary group of people, that rehearsed and put on an absolutely extraordinary performance – probably.  Yes – that will be why.  And also knowing, that I won’t be able to take part in SOCGII – because it’s in South America, which is both a practical and a physical impossibility for me.  So that’s it – I was at the debut of the Symphony, but it’s doubtful that I will attend any future SOCG courses or circles.  It has just become too difficult, and, too geographically challenging.

sigh.  meanwhile, coming from a place of slight melancholia now – please let me know if you have experienced any post-Guitar Craft feelings of any kind, or, what other “reactions” you may have had within the first week or so after returning from a Guitar Craft or Guitar Circle course.  I’d like to compare notes, find out if others have had this kind of feeling before, upon returning to their normal life.  :-) – whatever “normal” means, I suppose!

another sigh, then, before I go…

all the very best to everybody – thanks TEAM SOCGI, wherever you have scattered to now…


* the sun

King Crimson – Tivoli Vredenburg, Utrecht, Holland – 20150924

For the third and final of our “three of a perfect pair” (see how I did that – effortlessly!) we went slightly further afield, and for me, seeing King Crimson playing on European soil, in Holland, in 2015 – was not only very, very surreal, but it brings a nice sense of closure for me over time. Three gigs, in three countries, and for us, in many ways, the Tivoli show was the best.

I never saw the 1969, 1971 or 1972-1974 King Crimson line-ups, for me, I started out with another “three of a perfect pair”, all which took place in San Diego, California (where I lived at the time) during the first half of the 1980s:

November 22, 1981 – UCSD Gymnasium, University Of San Diego Campus

August 10, 1982 – Fox Theatre, San Diego

June 8, 1984 – SDSU Ampitheatre, San Diego State University

(eleven years pass)

then, as a sort of strange Crimson interlude, I saw a pair of live performance by the redoubtable “double trio” during the mid-90s:

June 28 1995 – Symphony Hall, San Diego, CA

July 30, 1996 – Summer Pops Bowl Park (where finally, I got to hear “Schizoid Man” live at last!!).

(a non-descript outdoor venue where I handed out flyers to the concert-goers for Mark – and in return, got a DGM T -shirt!).

(nineteen years pass)

which then brings us to the three current 2015 shows we’ve just completed, with the September 24th, 2015 performance in Utrecht still ringing in my ears…

this show was different in a number of very significant ways, from the two UK shows we’d seen on September 14th and 17th, and we found it very enjoyable because we were much farther back in the venue, this time, up pretty high in the stalls, but it’s a beautifully-built , steep-seated theatre – so no matter how high up you are, you aren’t really that far away from the stage.

but, that actually meant that we could hear the band better, and. hear the bass a bit better, and the overall sound mix was “best” for us, out of the three shows:

September 14, 2015 – Symphony Hall,  Birmingham, England

September 17, 2015 – Usher Hall, Edinburgh, Scotland

September 24, 2015 – Tivoli Vredenburg, Utrecht, Holland

but I am getting ahead of myself…

the Utrecht show began as all shows did, with the eiree, dissonant Robert Fripp Soundscape playing for perhaps fifteen minutes prior to show time; people were slowly finding their seats in the lovely, intimate theatre which was apparently bereft of any staff whatsoever, since there were no ushers of any kind in sight. we found our seats well ahead of time, but as we approached the later European start time of 20:00, a curious thing happened.

the Soundscape faded down briefly.  Then, a lone spotlight picked out RF’s “Lunar Module” rack mount rig and empty guitar stool, the theatre dark save for the strangely lit “Fripp” area.  Then the Soundscape returned, up to full volume again…and another wait of perhaps ten minutes this time (all the while, with that oddly lit Fripp guitar stool and guitar kit still bathed in that bright, bright spotlight), ending when the band finally emerged onto the stage.  This strange combination of Soundscape and the spotlight on the work area of the band’s leader, seemed to be saying something, but I wasn’t quite sure what.  Perhaps “this is where Soundscapes come from”, I don’t know.

so this was a bit of a different start to the show, the UK shows started earlier (at 19:30) and were a bit more on time, here in Utrecht, we started at a more Continental hour, and the band were a bit fashionably late. From our bird’s eye viewpoint this time, we could see well and hear the band really well indeed, and sonically, this show was the clear winner of the three shows we attended – they sounded fantastic.

the set opener remains unchanged, and as I never dreamed I would ever, ever, in a million years, see King Crimson playing “Larks’ Tongues In Aspic, Part I” live, hearing it for the third and final time for this year (this MONTH!!) was something that I really enjoyed, the new arrangement is fantastic and I particularly like the drum parts and the way the two guitars divided up the work, a fantastic song and it just keeps getting better each time.  to a lesser extent than previously, we still had some difficulty at some times, in hearing Tony’s bass or stick, but apparently this is a fairly common issue at all of the shows (or so I have heard, anyway).

it could simply be the placement of the two lines, front and back, and the front line is quite loud….so that may well make things difficult for poor Tony, located as he is with four fairly loud objects encircling him: Mel, Pat, Bill and Jakko.

that may be part of the problem, or it could just be that Pat’s drum kit simply overpowers the bass from time to time, I am not really certain why the level of the bass does seem to be an ongoing issue – we noted it at all three venues we saw shows at, but it had definitely improved by he time we reached Utrecht. From high up, and this time, we were on Fripp’s side of the stage – things sounded good.

at Birmingham (Sept 14th), we were on the left side, sort of in front of Mel and Pat but off to the left; in Edinburgh (Sept. 17th), we were in the fourth row directly in front of Pat, so being both on the far opposite side, and being both “back” and “up”, meant that the Utrecht (Sept. 24th) show sounded different.  There was noticeably more Gavin Harrison in our mix. And we could hear Robert more clearly, being on his side of the stage. And Jakko, too.  The “guitars” mix was better, too.

so it was actually a blessing, getting “bad seats” (actually, it was such a nice theatre, there really was no such thing) – we’d been too close to the band at the other two shows – well, not “too close”, it still sounded amazing, but, we did get a clarity at Utrecht that we didn’t experience during the other two shows.

when “LTIA Part I” came to an end, we got our first surprise: a changed-up set list, so here, in second position, came the very powerful “Level 5” – in the section of the concert where new material normally appeared. this change made me really happy as it meant that this set would not be the same as the two shows we’d previously seen.

then things really took a new turn, in the form of the title track of “a scarcity of miracles” – which I enjoyed immensely, it was totally unexpected; Jakko was in fine voice, and it was nice to see Robert playing quite a bit of keyboard, taking his keyboard duties as seriously as his most difficult lead guitar solo.  the last time I saw Robert Fripp playing a keyboard was in 1981, where he did a bit of keyboard for “Sartori In Tangiers” or some such 80s tune in a live setting.

I really didn’t expect to hear any tracks from the “Scarcity Of Miracles” album, and of course it’s also a great showcase for Mel, too, who sounded great on the track.

once that surprising song choice ended, the “new music” section could finally begin, so we got “Meltdown” and what I think was “Hellhounds Of Krim” – I still don’t have a handle on what the percussion-based pieces are called – but I do prefer “Meltdown” now, to the now-absent “Suitable Grounds For The Blues”, so of those two non-percussion based new songs, we got the one I prefer – so more good luck for me.

then the set returned to something that more resembled the sets we’d seen, with a lively “Pictures Of A City” (featuring more amazing work from Mel of course) which was then followed by the fantastic new arrangement of “The Construction Of Light” – which I love, especially the final flute solo from Mel – I don’t know why, but I really like that part.

I should note here the remarkable talent of Jakko, who learned the interlocking “Fripp and Belew” guitar parts flawlessly, and this is especially notable on “The Construction Of Light” (and on “Level 5”,  etc.) – it’s concise, precise, correct and beautiful, too…Jakko is a natural, and the incredible range of guitar parts he is required to play, from picked mock-acoustic guitar on the 1969 tracks, to the precision interlocking parts of something like “The Construction Of Light” from 2000, or to the uproarious and wonderful guitar parts on the two tracks from 1971’s “Islands”…Jakko nails them all. He makes it look easy!!

speaking of the 1969 tracks, next up comes the first of the three (from the first album) that they often do now in 2015, “Epitaph” and this is yet another piece where Jakko truly stands out; a good vocal, carefully picked mock acoustic guitar while singing lead vocal…he knows these songs so, so well, and sings them as if the spirit of Greg Lake was inhabiting him.

I think that the first ten King Crimson albums are some of Jakko’s favourite music, much of which he learned some years back for the 21st Century Schizoid Band (who performed much of the same early repertoire as the 2015 KC does), he takes the twin tasks of singing the vocal, and playing the guitar parts note-perfect and tone-perfect too (I couldn’t believe the lengths he went to, in the 21st Century Schizoid Band, to play every Fripp note, chord or even special effect, as accuraviewedtely as humanly possible) – an astonishing performance then, and even more amazing now he is in the “real” King Crimson.

I think that Jakko does really well on all of the material, but he really seems to live and breathe the songs from the first four albums (except Lizard, from which they don’t seem to perform any tracks currently) so when he sings something like “Pictures Of A City” or “21st Century Schizoid Man”, or, indeed, “Epitaph” or “The Court Of The Crimson King” – I think he really feels it from the heart. It’s clear to me that he truly, truly loves this music.

the very solemn “Epitaph” then gives way to Gavin Harrison’s lovely little ditty “Banshee Legs Bell Hassle” which makes for a wonderful, cheerful bridging piece to the next Musical Great Leap Forward – “Easy Money” , which is always a high point in these concerts. It’s a chance for the whole band to shine, Mel has invented some great sax parts for it, Jakko sings the original lyric rather than the “USA” or “naughty” version, and Pat turns up with some of the original sounds from the original recording, such as the laugh box that he “plays” at the end. they really do a great job of re-creating the unique sonic atmosphere of this classic 1973 track…I love hearing “Easy Money” live, I can’t get enough of it really, it’s always over far too quickly.

Fripp does take a remarkable solo during “Easy Money”, using a great vintage Fripp tone dialled in on his trusty Axe-FX II effects unit, and I was privileged to see and hear him approach that solo on three different occasions, and this one was fantastic as always, a wonderful, nostalgic 1973 style lead guitar solo with cracked Wah and distortion to the fore.

from here on out, the show just hits highlight after highlight, this is really my favourite part of the show, and the next two tracks are probably my favourites, the melodramatic “The Letters” which features Fripp playing an ungainly but wonderful guitar part, a solo atop Mel‘s rollicking saxes, followed by the absolutely sublime live performance of “Sailor’s Tale”, a great instrumental featuring Mel Collins on screaming impossible sax solo, with Jakko and Robert locked in on their long, sustained notes in perfect twinned guitar harmonies.

oddly, both Pat and Gavin fall completely silent during most of this track, leave Bill Rieflin (ex-Ministry) to handle the drum part on his own; only rejoining him when he has to switch to mellotron for the ending section. Somehow, having just Bill playing drums on this, made it sound right – it just worked best with one kit – and they realised that – and I really admire that decision.  I admired Pat and Gavin for being absolutely silent and motionless during most of this piece. Two fantastic vintage “Islands”-era Crimson songs played in incredibly accurate detail, with an absolutely swinging drum and cymbal part from Bill – he really nails (the late) Ian Wallace’s drum part.

did I mention Jakko’s impassioned reading of the lyrics for “The Letters”, he really sings “The Letters” so, so beautifully, it’s such a tragic tale, beautifully sung right up to the fantastic lyric “impaled on nails of ice…and wait for emerald fire”…which eventually leads him to the final, utterly a capella stanzas.  A roar of applause greets him when his lone voice finally falls silent with “…I take my leave of mortal flesh”.  Shivers.

I often think that Jakko gets a bit short-changed here; he is alternately viewed as, usurping Adrian Belew’s “rightful place” in King Crimson (is there such a thing, for anyone except Robert himself?? I don’t think so!) or not doing justice to a certain vocalist, or whatever – but, if you think about it, the expectation that rides on this young man’s shoulders is considerable:  he has to sing like Greg Lake, he has to sing like Boz, he has to sing like John Wetton, and he has to play guitar like Robert Fripp. All four things, of which he does, without issue, without fuss – he just does it – and I think he is a remarkable, under-appreciated part of the band.  Huge expectations – and Jakko delivers, night after night after night.  He is a brilliant guitarist, too – he’s the “other Fripp” in the band :-)

with the two amazing songs from “Islands” now done, at this juncture in the concert, I had no idea what to expect.  Would they just do the typical “last three” and be away, or what?  I didn’t have long to wait to find out, as the crashing riff and insanely-clever triple drum threat arrangements of “One More Red Nightmare” began. What a treat, too, to finally “see” just exactly how Gavin worked out the drum parts, and to see the amazing co-ordination between the three drummers on this song from 1974’s “Red” album.

this song holds fond memories for me,as I used to play and sing it, in one of my bands (Pyramid) when I was about 21 or so. the slow sections that modulate between either an E Minor To D motif, or, move up to a G minor based section, were brilliantly executed, with Mel’s snarling saxes over the two guitars…and finally, the whole band hits that opening riff hard, the triple drummers out do themselves once again, and one of the most amazing tracks of the night is over.

I was personally ecstatic that they included this song in Utrecht, it really made the set so special for me…I got my cake and ate it too, I got a different set from Birmingham or Edinburgh; I got “One More Red Nightmare” without giving up my two precious “Islands” songs.  Perfection – an inspired variation of set list.

and thence, following immediately, the beautiful “Starless”, with Mel Collins and Robert Fripp sharing that thick, liquid melodic line so perfectly, Mel in particular has clearly studied the recording incredibly well, but together they just sound so excellent on this track.  Fripp bends those notes so, so precisely this time, a great vocal from Jakko, this song works so well, too, with the triple drummers.  Tony gets a real workout, as well, playing the lead bass part for the last two-thirds of the song, until the fast bit at the end, which resolves at last into that amazing Fripp / Collins melodic conclusion – so, so beautiful!!

the Dutch crowd were very responsive indeed, I’d say they even gave the Scottish crowd in Edinburgh a run for their money, but both Scottish and Dutch were much louder and more demonstrative than the audience at Birmingham was.

A long, long, loud round of applause erupted at the conclusion of “Starless”, followed by rhythmic clapping eventually brought the band back for the two final numbers, another finger-picking exercise for Jakko in the form of “The Court Of The Crimson King” which also features the Michael Giles-channelling Pat doing his very damnedest to break his drum heads with the ferocity and speed of his drum rolling – such a powerhouse of a performer, Pat absolutely propels the final section of this song into a kind of drummer’s stratosphere.

meanwhile, Robert’s subtle, reverbed lead guitar, was so so lovely, working perfectly with Jakko’s mock acoustic guitar, and the vocal, too: “the yellow jester does not play, but gently pulls the strings…” Cue RF, gently bending between one half step and another, as if in answer to the lyric’s meaning, his guitar on this was just perfectly done, sounding very, very much like the original.

finally, it’s the end, which means it’s time for “21st Century Schizoid Man” 2015-style. Jakko sings the lyric like a man possessed, even dragging a little bit of actual melody out at the end of each spat-out line…an almost-melodic “….century schizoid man….” For me, this is one of the most altered arrangements, and it took me awhile to realise that actually, there is no real lead guitar “solo” at any point. RF does play a wonderfully convoluted descending guitar lead that walks right down to Mel’s solo (which doesn’t last long enough to become a solo) – and Mel just owns the song from there on out.

the band of course, all join together for the “precision part” which goes without incident, and then, the final verse, the final chorus…the wild ending that suddenly stops in dead silence…and the show is over.

the Dutch crowd is on their feet cheering and once again, the applause is long and loud, as the band take their final bows and are away down the stairs…and out into the cool night of Holland.

my first ever concert in Holland, but, the last of three King Crimson shows for September, 2015 – this is a month that I will not forget any time soon!!! The quality of musicianship on display, from all seven gentlemen in the band, is simply extraordinary; the selection of songs, mind-boggling in their quality and diversity; the overall effect is simple one of wonder, you are left wondering where else music could possibly go, from what you just heard…

the melodies stay with you for days.  you find yourself singing “Easy Money” or “Starless”, all the time, or you hear the choppy chords and mellotrons from “The Court Of The Crimson King” in your head – this music stays with you, for days and days, you find yourself playing your “Red” and “Larks’ Tongues In Aspic” albums over and over again.

its now been five days since the concert, and I can still hear huge chunks of the show in my head when I think about it.

and…I’m still singing “starless and…bible black…” and then I close my eyes and wait for Robert and Mel to come in with that unforgettable melody.  sigh.

King Crimson – Usher Hall, Edinburgh, Scotland – 20150917

This then, is the second of three King Crimson gigs we are attending, the first of two shows at Edinburgh’s lovely old Usher Hall, on September 17th, three days after the first show we attended in Birmingham on 20150914; while boasting a similar set list to the show from the fourteenth, the Usher Hall Edinburgh show had a number of significant differences that are well worth noting.

First of all, is perspective; in Birmingham, we were off to the left side of Symphony Hall, slightly elevated, and back some distance from the stage, whereas in Edinburgh, we were in the stalls in the fourth row – directly in front of Pat’s drum kit with Mel just behind him…not bad at all.  So this time, still to the left but way up close in the stalls – we noticed quite a bit more detail – simply because we were so much nearer.

But first things first, the set list, which was pretty much unchanged from the show three days previous:

Taped Introduction (including the “Islands Rehearsal” snippet from the outro of the “Islands” album – in other words – the standard 2014/2015 Elements Tours taped intros – the “no photos please” vocal montage, followed by “Islands” rehearsal, and finally, the 1971 Voice Of Robert Fripp intoning the count of “1 2 3, 2 2 3″…) – which becomes the count in for:

Larks’ Tongues In Aspic, Part I


Suitable Grounds For The Blues


The Construction Of Light

Level 5

Hellhounds Of Krim (??)

Pictures Of A City


Easy Money

Banshee Legs Bell Hassle

The Letters

Sailor’s Tale

Interlude (Taped audience sounds)


(Encore – after a well-deserved standing ovation for “Starless”:)

Devil Dogs Of Tesselation Row (??)

The Court Of The Crimson King

21st Century Schizoid Man


Since the set list is essentially identical to the Monday night Birmingham show, I will focus in on differences and details that I observed this time, that I might have overlooked with the excitement of that first show on Monday night; plus, sitting so close at the Edinburgh show, I was able to see the players in incredible detail. My new 10x binoculars helped significantly with this – if I wanted to see in close-up, what notes Robert or Jakko or Tony were playing – the binoculars allowed me to get in really close on the action, and observe chord patterns, note patterns, and playing styles in intense detail. Being in the fourth row gave us a great view of the band, but having the binoculars on top of being so close, gave me super-close up HD Guitar Vision – it was brilliant.

They all played well in Birmingham on Monday, but in Edinburgh last night…they played even better.

There were a couple of mishaps, so I shall get those out of the way, some mysterious mid to low frequency feedback was plaguing the band during “Pictures Of A City”, it was quite persistent and it ran for perhaps 40 or 50 seconds, a low, irritating non-musical tone; the band forged on as if it wasn’t happening, until eventually, the sound man (presumably) quenched it.  It returned again later, I think during Epitaph, for a shorter period of time, but that was the last of it, thankfully.
The beginning of “Easy Money” was slightly marred by an out of tune guitar (Jakko’s, I think) but then turned out fine, in fact for me, it’s a huge highlight because it’s one of the only instances where RF really tries to play a 70’s style Fripp sustained guitar solo, and that solo was a cracker, really beautiful, liquid distortion and cracked Wah pedal action…gorgeous guitar tone from Robert’s Axe FXII.


One of the other instances of that beautiful sustained guitar tone is Robert playing the exquisitely beautiful melody of “Starless”, however, at the end of one of those solos, his final bend ended up in a truly bum note – a rarity for Fripp.  Ever the professional, he simply looked at Jakko, and carried on as if nothing had happened.

Possibly because we were sat so close to Pat and Mel, I really noticed their playing this time, and I would say that Mel played even more spectacularly amazing sax and flute in Edinburgh, than in Birmingham, where he was awesome.  So better than perfect, really – the solos were so tight, so intense, and he absolutely steals the show with his soloing in “Pictures Of A City”, “The Letters”, “Sailor’s Tale” and “21st Century Schizoid Man” – his playing was absolutely stellar on those tracks in particular, he was consistent and excellent throughout.

Pat – well, what can I say, Pat is the master, and is my personal favourite of the three extraordinary drummers.  His intense, powerful playing on “Epitaph” and “In The Court Of The Crimson King” once again, channelling the great Michael Giles…was simply astonishing to witness at close quarters. Pat was amazing throughout the show, and I could really appreciate his contributions to the drumming really well indeed at this particular gig.

And, impressively, this time, we could hear the bass and the Stick, much, much better, so bring able to hear what Tony was playing, better than on Monday night, was great – I particularly love the verve with which he attacks the lolloping bass line of “Sailor’s Tale” – he sounds great at all times, really in tune and doing very musical, very good work on the electric string bass, the Stick, or the bass guitar, Tony always sounded really good.

But then, this is a band where everyone sounds good, all the time, and the amount of care and detail that goes into the band’s sound is truly overwhelming. Just watching the percussion section during the opening number, the incredible 2015 rendition of the 1973 classic “Larks’ Tongues In Aspic, Part I” is a lesson in musical co-ordination; all three drummers are playing many different percussion instruments to add atmosphere and ambience during the quieter sections, then sitting down simultaneously to come charging in for the heavy metal section.

Watching Pat was a revelation during this, he had clearly studied the original track well, and he picked up a myriad of strange percussion devices, and operated them at certain points in time during the “lulls” in the song – with military precision.  Then that heavy metal section would come up again, with Jakko wailing away on the high, bendy lead guitar notes, Robert, playing the chords (and often, during this concert, that was the case) and the three drummers all come in on the downbeat, and also, end each bar with a cymbal smack – and hearing the three of them, playing their hearts out underneath that ominous set of power chords – just sounded amazing.

“Red” followed immediately, and again, the band was confident, Jakko playing the long, ascending sustained lead guitar line, while Robert handled the chords; Robert played the flanged “stand-alone” chords on the “middle section”, leaving Tony and Jakko, with some assistance from Mel, to handle the beautiful melody that plays over the flanged guitar chords – and then, back into that wonderful E to F# progression, which then finally leads back to the wonderful ascending guitar from Jakko – and Mel joins in for the last few notes, so they both end up on a stretched high note that is held for just the right amount of time…perfection.

I can’t really add a lot to my previous blog’s comments on the “new” songs that appear at this point in the set, although I did find myself liking “Suitable Grounds For The Blues” a bit more than the first time I’d heard it, way back on Monday night – it, and it’s companion, “Meltdown” – are just not as convincing to me as the earlier material is.  And therein lay the difficulty – the repertoire they are playing, spans 1969 – 2003, and includes some of the most incredible of Fripp compositions and other writers’ contributions – the lyrics of Peter Sinfield are a huge part of the tracks that they perform from 1969’s “In The Court Of ‘The Crimson King”, 1970’s “In The Wake Of Poseidon”, and 1971’s “Islands” (sadly, no live versions of anything from 1970’s “Lizard”, the third album) and other contributors such as Adrian Belew, whose guitar parts on “The Construction Of Light” are absolutely brilliant – but, fair dues – Jakko played them just as perfectly and just as beautifully as Adrian ever did – and to be honest, as much as I love the music of Adrian Belew, and I liked his role in King Crimson – I am actually of the belief that Jakko is a better choice, because of his knowledge of the early catalogue, and he’s a fine, serious singer, too.

So I like the fact that Jakko is there, for example, his acoustic guitar emulations on the two quieter tracks from “In The Court Of The Crimson King” are just so spot on, he does the finger picking perfectly WHILE he sings the beautiful Greg Lake vocal melody with beautiful lyrics from Peter Sinfield!  A very beautiful example of multi-tasking – Jakko gives us the acoustic guitar, and the lead vocal, leaving Robert free to play the beautiful lead guitar parts on both “Epitaph” and “The Court Of The Crimson King” – beautiful work from both guitarists.

I am still astonished by the unexpected presence of “Easy Money” in this band’s set list, but there it is, and after a shaky beginning with an out of tune guitar, it quickly turned into one of the best songs of the night, because of Robert‘s amazing 1970s style lead guitar playing, not to mention Jakko’s brilliant vocal, and Tony doing his best to play like John Wetton – and mostly, succeeding at it.  A great rendition of a great song – complete with laughing machine at the end from Pat – just like on the album.

My favourite part of the concert then arrives – the two songs from “Islands”, and again, a delicate, beautiful rendition of “The Letters” with Fripp playing super high octave chords with a beautiful guitar sound, and Jakko playing the other picked part in time, and singing the beautiful, beautiful vocal – one of Boz’s best vocals, I believe – and then, there is an incredibly powerful part, where Robert plays some amazing, super sustained “Frippy” guitar lines, before the song begins to go…a bit mad courtesy of the amazing saxophone skills of Mel Collins, who blows his way through both “The Letters” and the second of the two tracks, which follows immediately, the instrumental “Sailor’s Tale” in astonishing form, with powerful, melody, and grace.

Mel is so amazing on both of these tracks, the accuracy with which he’s tried to re-create the original parts, while at the same time, improving and updating them – it’s just an astonishing effort on his part, and his playing breathes new life into these two songs.  Jakko’s vocal on “The Letters” is possibly my favourite vocal of the night, I love the way he sings this song, right up to the a cappella ending –  which he does just perfectly – a brilliant performance.

Once the band have played “The Letters” and “Sailor’s Tale”, two tracks from my personal favourite of the early King Crimson records, I could die happy, but, things progress, and we end up in the beauty of “Starless”, where I must mention the remarkably talented Bill Rieflin, who plays mellotron on so many of these tracks, the accurate arrangements he uses are a testament to how much he cares about getting it right, and the mellotron sounds are perfect, and the playing is perfect – and on “Starless”, it’s so, so beautiful – with Robert‘s amazing, thick sustained lead guitar line, and Mel’s sinuous horn parts snaking in between, it’s a huge highlight of the night, and the excitement of the final section, after the long instrumental build up, is undeniable.

Despite Robert’s unfortunate note in the middle of the verses, this version of “Starless” brought the band to standing position, and, brought the audience to it’s feet as well – and the applause was truly thunderous as we’d just been assaulted by a dozen of some of the most amazing progressive music ever written.  And when the band walk off, the crowd is clapping in rhythm for their return – until they do return, to play us out with the last two offerings, both from that famous debut 1969 album, “In The Court Of The Crimson King” – the title track, as the penultimate offering, followed by “21st Century Schizoid Man” complete with recorded intro (the “Wind” sessions result) – and this was another great rendition of “Schizoid Man”, with one slight disappointment – I hadn’t really noticed this at Birmingham, but I am definitely sure about it at Edinburgh – there is no guitar solo!

Robert plays the beginning of the original solo, and then does a short descending lead guitar, which is an intentional bridge to Mel, who picks up the notes from Robert, and then takes the solo proper – and Mel is great at this, he always had a solo on “Schizoid Man” back in the day, so he is the perfect player for the job, and this was no exception – he played a blinder.  But then, as the song progressed, there was a drum solo, and then, they came back in to play the “precision section” – which went flawlessly – and then to the last verse and the ending – which was dead silence at the climax of sustained rock-burn-out noise – brilliant!!  The crowd loved it, and it was a great version – but, strangely – no guitar solo.  It worked, it’s great with Mel handling the solo, but I would have loved it if Robert and Mel had each had a solo (as they used to, back in 1972) – but, this is the 2015 arrangement, so I guess that’s how it goes now :-)

Overall, despite some annoying feedback and the very, very rare issues with the music, this was a really well-played show, and it just makes me look forward to our next and final of three shows, in Utrecht, Holland, on September 24th – I can’t wait !!

One of the things I’ve noticed about previous versions of King Crimson is that, if you listen to a series of concerts over time, you generally speaking, find improvement – parts are played better, arrangements are tweaked and re-saved, and musicians find better and more perfected ways to do things – so, over time, they tend to get better – and I realise I haven’t so far heard much of a series, but I can say, that over the three day period between Monday and Thursday. that there is improvement.

One thing that was easy to observe, was the difference in audience reception. In Birmingham, the applause was not nearly as loud or persistent after the main set, there was no rhythmic clapping to call the band back to the stage, while in Edinburgh, the Scottish crowd were on their feet and shouting for more, applauding really loudly, then, clapping rhythmically – a much much better audience response, which in turn, made the players respond positively – so while in some ways, the Birmingham show might have been more technically “polished”, here in Edinburgh, there was more emotion, more audience interaction, and in the case of one Mr. Mel Collins, some incredibly passionate horn soloing – really beautiful work, just out of this world solos on every track – the man is impossibly talented.  And when Robert Fripp and Mel Collins join forces to solo, one at a time, or together / trading / overlapping solos – it just rocks.

Both concerts had high points and low points, but I felt that the Edinburgh show was more relaxed, with a much more receptive audience, so at least in that sense, it was a “better” show – but in my mind – both of these concerts were absolutely remarkable musical experiences, once- in-a-lifetime – except, I get to see it three times in a life time :-)



See you at Utrecht on the 24th !!!!

Happy Krimsoning !!








King Crimson – Symphony Hall, Birmingham, UK – 20150914

for us, the first of three 2015 King Crimson concerts from the UK / Europe leg of the tour, took place in the elegant Birmingham Symphony Hall, on Monday evening, September 14th, 2015. We travelled down to Birmingham on the train, and spent a couple of relaxing days pottering about the place, taking photographs, reading, and for me in any case, drinking far too many Starbucks soya Mochas….

curiously, just a few hours before show time on Monday afternoon, on the DGM site, we noticed an advert for booking a pre-show talk with David Singleton, so we were privileged to get an extra 45 minutes of Crim-related material, courtesy of the very knowledgeable Mr. Singleton.

David discussed some of the recording processes and the challenges therein, and played examples of “before” and “tracks” (of “Lament” among others), where the board recording was mostly drums and vocals, and the rest of the concert was pitch-matched bootlegs, and, with a lot of patience and sonic necromancy, these are careful remixed so you can actually hear the individual instruments. It was a very interesting talk indeed, and David even treated us to some unreleased fly on the wall recordings from the forthcoming “THRAK” box set, we heard a session where “One Time” was being developed, and that was very cool.

At the end of the talk, which touched on King Crimson, Robert Fripp solo, orchestral soundscapes, the Vicar, and everything DGM, David then took questions, most of which were about forthcoming or existing releases, but some interesting points were raised.

Then, quite suddenly, it was time, show time, so the forty or fifty of us who signed up for the talk, dispersed to our seats in anticipation of seeing the legendary “seven-headed Beast of Crimson” perform live, at last. I’d been anticipating this moment for many months, and could not quite believe that it had finally arrived, at long, long last.

And I have to applaud this venue, there was zero stress, no queuing, no waiting, we sat in Starbucks drinking coffee (which was located inside the Symphony Building, a few steps away from the venue’s doors) prior to the show, made the obligatory visit to the merchandise stand, and then into the venue and our seats…which afforded us of a great view of the band, at approximately the same vertical “level” as the Crimson back line – i.e. at eye level of Collins, Levin, Jakszyk, and Fripp, with the three drummers at the “level” just beneath us.  The ideal place to see and hear from :-)

For me, this tour is like a dream version of the band, with Mel Collins back in the fold, and the opportunity then that this gives the band, to recreate a large number of archival Crimson songs requiring flute, soprano, alto, or tenor sax – along with the presence of Jakko Jakszyk, whose knowledge of and mastery of King Crimson material 1969 – 1974 is absolutely unparalleled, he knows these songs as well as or even, dare I say it, better than RF himself – due to his involvement with the 21st Century Schizoid Band (of which, Collins was also a member). I was fortunate enough to see the 21CSB live in San Juan Capistrano which was in itself, a remarkable experience, so I’ve seen, and heard, first hand just how well Jakko knows his Early Crimson :-)

So with the flutes and saxes more than ably handled by Collins; and lead vocals and the “other” lead guitar handled by Jakszyk, that’s a firm foundation to build on, especially when tackling the earliest Crimson material. The sparkle there though, comes from the fact that for a number of those pieces, it was Collins who originally played them, in the studio and live, so the horn and flute parts are very historically accurate but actually, better, because of course, Mel has grown as a player, he is better than ever and his contributions to this band, cannot be underestimated.

A lot of my excitement and anticipation for these songs was around having the impossibly ever-young looking Mel Collins back in the band with Robert, and watching them trade solos, with big smiles on their faces…it was almost as if the intervening time ( some 43 years since they last shared a stage!! ) had somehow magically disappeared, and we were back in 1972 – especially during something like the sonically raging “Sailor’s Tale” – the guitar / sax interplay and soloing was mind-bendingly good.

And…the inclusion, in this concert, for me, of two tracks from my personal favourite “early” King Crimson album, the much-maligned and misunderstood “Islands” (the fourth KC album from 1971) made my experience complete…I got to see Collins and Fripp play their way through both “The Letters” and the incredible “Sailor’s Tale” – two amazing tracks from a great album. But I am getting ahead of the story here…

When we entered the venue, the first thing that strikes you is the new front line: three drum sets, a DW Drums set (Mastelotto), a Gretsch set (Rieflin – who also doubled as the main mellotronist throughout) and a SONOR set (Harrison) set up in what is a first in rock music: a front line of three co-ordinated drummers. The drum arrangements ( as arranged by drum section leader Gavin Harrison ) were absolutely amazing: precise, powerful, and innovative.

I happen to know what the brief was from Robert, to the drum section – in just three words:

RF: “Re-invent Rock Drumming”

In my opinion, after seeing this concert, I feel that the three drummers have done exactly that, no less. A remarkable musical achievement – truly unusual and wonderfully creative and innovative. In a word – awesome!

The drum duties were spilt up in the most unusual ways, I remember for example, that for “Sailor’s Tale”, Pat and Gavin fell silent, leaving just Bill Rieflin to re-create Ian Wallace’s “flying cymbals” drum part, so that track had a unique sound: one drummer!

For most tracks, two or all three would be active, each taking different parts, maybe one would be on hi hat, another, on snare, another on low tom-toms, however it was arranged, it worked, and it worked really well. The drum section was extraordinary, and they sounded great being in the “front line”, really powerful and incredibly well organised in sound.

Bringing up the “back line” then, from left to right, were Mel Collins; the redoubtable and very tall Tony Levin on bass guitar, stick and harmony vocals; Jakko Jakszyk on guitar and lead vocals, and finally at far right, young Robert Fripp on lead guitar. The idea of having the bass guitar, and the three “soloists” in the back line is an extraordinary idea, and visually, it was a very striking arrangement. For the audience, it meant that you got the rhythm first, and the melodies and harmonies, second…very odd, but, it works.

The only slight sonic disappointment was that for some reason, the bass was sometimes quite inaudible ( very upsettingly, in particular, during the bass solo of “Larks’ Tongues In Aspic Part I” ), which, after a taped introduction, was the first number the band played.

Regarding that Introduction, first, we got the recording of the band asking us not to take photos      during the show, followed by the “Islands Rehearsal” clip from the very end of the “Islands” album, which the band played live over, a short flute solo, a few guitar sounds….leading up to Robert Fripp’s voice, teleported from 1971, counting in the orchestra with a droned “1 2 3, 2 2 3” after which, the drum section launched into a brief drum performance which quickly mutated into the familiar Jamie Mui-led intro to “LTIA Part I”. This is the same intro as used on the official live album “Live At The Orpheum“.

I had never dared dream that I would ever see any version of King Crimson play “LTIA Part I”…I never saw the 70s or 60s Crimson play live, my first KC concert was 1981’s “Discipline” tour, I saw the band then in 1981, 1982, and 1984, and then again, in 1995, I saw the double trio, who did play “21st Century Schizoid Man”, “Red” and “Larks’ Tongues In Aspic Part II”, but I really didn’t think there would ever BE a King Crimson that COULD play “LTIA Part I” – until now.

It was a real shock, and when the full force of three drum kits slammed in, with Jakko and Robert doubling the heavy metal power chords, well, I about jumped out of my seat – the sheer power and volume after the very quiet percussion beginning was great. And you can bet that I zoomed in with my brand new binoculars to watch Robert Fripp play those fantastical riffs…which he did, with aplomb…no problem. That impossible Fripp-riff from 1973, perfectly executed in New Standard Tuning in 2015!! Those guitar parts are just amazing, and both guitarists really shined on this piece, Robert playing the coda with real clarity…Jakko playing both violin melodies and guitar parts, it was a really good performance of a notoriously complex and difficult piece of music – amazing!!!

Next up, the band launched immediately into “Red”, which in its lifetime, has undergone a few different “live” iterations, first, the very wild Adrian Belew v Robert Fripp “guitars” version played by the 80s band, then again, in 1995, the double trio adding two basses and two drummers to the patented live “Red” formula; mutating it further still from the studio version…,until now, finally, in 2015, when it underwent it’s most radical transformation.

Led by a new sort of “lolloping wave” drum part, where the three drummers in turn played a riff across the toms, one after the other, while the back line valiantly worked to keep the bass, chords and other melodic parts of ‘Red” in sync, it was a wonderful new way to experience “Red”, and I for one liked the new almost anti-Bruford drum part….the drum section’s new interpretation of what “Red” requires in the percussion department was radical and inspired – excellent. Visually it was quite unique too, because it formed a real “wave” as the drummers each took a turn, from one end of the drum section through to the other, it looked and sounded amazing.

After this initial opening salvo of a track from “Larks’ Tongues In Aspic” and the title track of “Red”, it was time for new 2015 King Crimson material, with which I was, and still largely am, utterly unfamiliar with. The first of a number of “new” King Crimson songs followed “Red”, which was also the first song of the evening to feature vocals from Jakko, “Suitable Grounds For The Blues” caught me off guard, I wasn’t really ready, but there it was.

Jakko was in fine voice, I know he is not considered to be an incredible vocalist by some, but I think he accounts for himself quite well, especially given that basically, he is playing lead guitar and singing lead vocals at the same time, as well as on some of the earliest material, playing Fripp’s original acoustic guitar parts using an ‘acoustic guitar” simulator effect of some kind. So he has a lot on his plate, a lot of responsibility, but he has the quiet confidence to pull this kind of musical multitasking off without incident.

“Suitable Grounds For The Blues” was no exception to this, Jakko delivering a flawless vocal while playing complex guitar lines, interlocking lead guitars with Robert Fripp while singing is a talent, and Jakko sounded great on this track. For me, I was a bit underwhelmed by it, there was no super memorable guitar parts or vocals to bring it up to above average, and I remember thinking that despite the fact that they played the piece very well, that for me, it seemed like one of the more or even most non-descript pieces of music that Crimson has ever done…nothing really remarkable or unique about it, nothing that really sticks in memory. I hope that in time, I discover more that is unique and good about the new material – it takes time sometimes with newer, unfamiliar songs.

This was followed immediately with another new vocal number, “Meltdown”, which again, the band played well, but myself being unfamiliar with the piece, I found it, once again, slightly underwhelming as a song, although the performance was excellent. Another good vocal from Jakko, very professional and very well done.

Following these two new tracks, the concert’s chronometer switched from 2015 Crimson to 2000s King Crimson, where we were treated to two of the best and most recognisable of tracks fromI A that time period: “The Construction Of Light” followed immediately by the powerful, ominous drive of “Level Five”.

I love the new arrangement of “The Construction Of Light”, featuring new parts for Mel, mostly on flute, have been integrated into the song perfectly; Jakko demonstrating that he can not only imitate Robert Fripp really well, but also, Adrian Belew, and he made short work of the interlocking Belew / Fripp melodic interwoven guitars that dominate “The Construction Of Light”, while other important changes were made: the vocals are entirely removed, and as the track nears the end, where normally Adrian Belew sang the tune out, suddenly, his missing vocal is replaced by a small blinder of a Mel Collins flute solo, and then the song is over,..but, after a very shirt silence, the awesome Tony Levin bass line that powers “Level Five” is underway, and this gives the shared lead guitar team of Jakszyk and Fripp, an even more complicated and serious lead guitar workout than the very intricate, complex “The Construction Of Light”.
So, from the very, very difficult to the very nearly impossible they go, with the lone bass line of Tony Levin beautifully and easily underpinning the twin lead-guitar attack for the duration of “Level Five” – a song rumoured to possible actually be, “Larks Tongues In Aspic Part V” but this is unconfirmed at press time. I always think I don’t particularly care for this song, until I see them play it, and I realise that it has become a modern Crimson “classic” – “Level Five” live, in 2015 – was simply brilliant!!

Next, we were treated to the very short but very excellent, “Banshee Legs Bell Hassle” which is a fascinating drum / percussion / electronics solo piece from Gavin Harrison ( who is also the track’s writer ). I was familiar with this new piece of Crimson music because it appears on the official “Live At The Orpheum” live CD, and it’s actually a really nice little tune – performed both effortlessly and flawlessly by Harrison, who showed no trace of nervousness at any point in the proceedings.
After the gamelan-like sounds of Gavin’s solo piece, the introduction of the astonishing “Pictures Of A City” just frosted my socks, with Mel honking away furiously and joyously on his tenor sax, playing the fabulous “spy’ melodic lines in perfect unison, harmony or counterpoint with Robert Fripp, who reprised his original contributions on guitar. Jakko had the pure joy task of singing yet another brilliant Peter Sinfield lyric, and for me, this track, this performance, was a true musical highlight of the night, another song that I never dreamed I would experience “live” in my lifetime, but, there it was: a great vocal and guitar from Jakko, fantastic bass, guitar and sax precision “spy” parts, excellent new three drummer drum part – a sprawling, complex and very musical arrangement of the song, from 1970, that tried to top 1969’s “21st Century Schizoid Man” for complexity – and very nearly succeeded in doing so.
This was a really powerful performance, with both Fripp and Collins on absolute top form, playing with precision and grace – a fantastic moment in time, an unforgettable version of “Pictures Of A City” sung with passion by Jakko, and played with so much power by the whole band – an ensemble performance, perfectly co-ordinated between the seven players – a true team effort, a huge win in my book – a real highlight for me. Beautiful work.
Then the time machine dialled us ever further back, back from 1970 to 1969, and for me, the first of two tracks from “In The Court Of The Crimson King” that I simply was not expecting at all – the first of which, was “Epitaph”. This one featured Jakko’s encyclopaedic knowledge of early Crimson, where he simultaneously played Robert Fripp’s acoustic guitar parts, while doing a very credible imitation of Greg Lake’s classic, mournful vocal. Fripp played beautifully on this one, recreating his fast strummed parts perfectly, while Jakko handled all of the “acoustic” picking duties. But then, the band’s secret weapon was revealed, Bill Reiflin, his back now to us as he turned away from his drum kit towards his mellotron, loaded with all of the authentic “Streetly” mellotron samples, very, very precisely and carefully reproducing the original parts as played by Fripp and Ian MacDonald.

The historical accuracy of both the samples used (making the strings, flutes, horns or choir voices sound exactly like the 1969 album, and, the accuracy with which Rieflin plays the mellotron parts, perfectly copying the parts on the original album)…the addition of this super accurate and authentic mellotron part, coupled with Jakko’s impassioned vocal performance, really brought an amazing sparkle to a song with such a serious lyric. I never, ever dreamed, in a billion, billion, years, that I would see and hear King Crimson play “Epitaph” – but I just did, last night. I still can’t quite believe it, I’m pinching myself…”Epitaph” live.  I really heard and saw that! Last night.

Now this is where things get a bit hazy. There were quite a number of “drum solos” during this performance, some of which I understand, are actual songs with titles, and the next piece, as far as I was able to ascertain, was called “Hell Hounds Of Krim”. Now you know just about as much as I do about this song, every time this trio of drummers played, it sounded amazing, and these “all drums” songs were no exception – they sounded great! Three of the most inventive players around, each with their own style and sound, working together on a three part drum performance – it was simply magic. Another top notch performance of new material.

I know I keep saying “I never dreamed in a million years that I would see and hear King Crimson play THIS SONG”…well. I can tell you…and I will, over and over again…I never dreamed in a million, trillion years, that I would witness them playing “Easy Money”, but there it was. Again. Jakko did a very credible imitation of John Wetton’s vocal, while Fripp took on the difficult guitar parts. When it got to the first guitar solo, Robert got an amazing guitar tone out of his Axe-FXII, a very accurate 70s cracked-Wah liquid sustained “Frippy’ solo sound, and he played a vintage style “solo” using that amazing sound. It was phenomenal, and I was absolutely flabbergasted by the quality of that solo, and of all the parts – Fripp absolutely nailing the high speed violin riffs near the very end, with perfect timing and expert intent, absolutely on the mark…”just making easy money”…this is where Pat then fires off the “laughing box” at the end, just like on the original record.  but Robert was smoking hot and I won’t forget that amazing solo any time soon.

I could not really believe that I’d just heard and seen “Easy Money” live. Perhaps to give me time to recover, they then played “Interlude” which was just about one minute of tape, of an audience clapping and talking. Now at this point, based on previous set lists, one of two things could have happened, the next two tracks, might be, “The Talking Drum” followed by “Larks’ Tongues In Aspic Part II”, in other words, following “Easy Money” that would be the whole of side two of the original vinyl “Larks’ Tongues In Aspic” album, or, they could divert back from 1973 to 1971, and “go Islands”…

I said aloud, during the last few seconds of Interlude ‘please be ‘The Letters”‘ and an instant later, “The Letters” started up. For me, this was it, the high point of the concert. Jakko’s voice is most similar to Boz’s voice, and I think he sings this song really well, which really adds to the historical accuracy. Both Fripp and Jakszyk play really delicate picked guitar chords during the verses, and the whole band played this piece with such delicacy…until the super loud fuzz guitar and honking tenor sax part that is…which is really sudden, and really powerful yet another awesome demonstration of dynamics, from the whisper to the scream…

The song then moves on until it reaches its remarkable vocal climax, where Jakko is “impaled on nails of ice…and wait for emerald fire”…this song is so intense, and so strange, but the band gave it everything, took it seriously, and delivered it well, in a beautiful, unforgettable (for me, anyway) rendition.

and then I held my breath one more time, according to previous set lists, the next track should be “Sailor’s Tale” – so as the Bill Rieflin-powered, perfectly reproduced mystery mellotrons of “The Letters” faded out, I had a long moment of fear…until suddenly, Tony Levin and Bill Rieflinh » started up the fabulous bass and drum backing of “Sailor’s Tale” – which then gave the three back line soloists the chance to truly shine…first, the awesome sax riff, with dual long sustained guitar notes from our two guitar heroes…after a few precision reiterations of that, it then gets to the truly exciting bit, where both Collins and Fripp solo wildly, trade solos, play together, play crazily…it’s a truly wonderful instrumental jam. So here is my “broken record” speech again: I never dreamed in a million years that I would see and hear not one, but two amazing tracks from “Islands” my personal favourite of the early King Crimson albums.

so the double whammy shock of “The Letters / Sailor’s Tale” left me reeling, Mel’s screaming saxes and Robert’s wild lead guitar playing, including bends…it was very odd to see RF bending strings again in tracks like “Sailor’s Tale” or “Epitaph” – these two “Islands” songs, brought back in 2015 from 1971, probably at the suggestion of Jakko, who like myself, is also very fond of “Islands”, just made my evening complete, I was so pleased that this was an “Islands” night rather than a “Larks’ Tongues” night…although I do also hope to see the set list with “The Talking Drum / LTIA Part II”, but after tonight, now I can die happy!! because I saw and heard both “The Letters” AND “Sailor’s Tale” live – something I literally would have thought impossible until THIS King Crimson formed.

Then the time travel machine jumped forward again, to the beautiful, exquisite piece that is 1974’s “Starless” – more perfect mellotron parts, Mel Collins effortlessly re-creating both his own horn parts but also, Ian McDonald’s horn parts, creating a perfect amalgam of both…Jakko, tackling another difficult-to-imitate John Wetton vocal.

When the song reaches the slow buildup section, with the long, long picked guitar notes with bass figure, there was a slight problem with tuning at the start of that section, which eventually sorted itself out by the time we got to the very exciting conclusion of the song…Fripp playing that amazing, liquid, distorted lead guitar melody, again, with string bending, sharing the melody with the horns, a beautiful song, great vocal by Jakko, great bass from Tony, and beautiful soloing from Robert and Mel. Now, I had previously seen a version of “Starless” live, when I saw the 21st Century Schizoid Band play it, with the late ian Wallace on drums….but now, it’s “Starless” with Robert Fripp AND Mel Collins, it was just wonderful as performed by the new “Seven-headed Beast Of Crim”, a truly lovely performance, nicely done.

Time now for more “drum solos” that are apparently songs, this time, it’s (apparently) “The Devil Dogs Of Desolation Row” again, this trio of ultra professionals could make any percussion piece sound great. So another high quality 2015 percussion workout from Pat, Bill and Gavin. Great stuff.

For the final number of the main set, another impossible track from the distant past – the title track from 1969’s “In The Court Of The Crimson King”, again, featuring the historically and musically accurate Jakko Jakzsyk on mock-acoustic guitar and lead vocals. Another standout vocal from Jakko, singing some of Peter Sinfield’s most famous and most amazing lyrics…perfect reproductions of the original flute parts from Mel…Robert reprising his original lead guitar parts in a really accurate and beautiful way…another classic Crimson number from the renowned first album.

And that was that, the end of the show, “In The Court Of The Crimson King” and I wanted to mention something interesting, planned into the drumming, for all of the tracks that originally featured Michael Giles on drums, I got the feeling that Pat Mastelotto felt it was his duty, his calling, to emulate sone of the incredibly powerful Giles drum rolls, and with real power…and he did just that. On several occasions, I was watching him play through the binoculars, when he would let loose an inhuman burst of speed, playing in the same uncanny, impossible way that Michael Giles used to. It was an astonishing thing to witness, and you could feel Pat’s desire to emulate what Michael played, because it was so much about the drums, in those classic pieces (I am thinking of “Epitaph” and “In The Court Of The Crimson King” here).

Often during the long outros of the songs, Giles would suddenly play something impossible…and Pat did exactly the same thing, on a few different occasions during the night. So it was awesome that Pat did this, a real, living tribute to the critical part that Michael Giles (who, by the way, is Jakko’s father-in-law) played in the original music from that first album, his long powerful rolls were critical to the early Crimson’s sound.

To be fair, there were moments when each of the drummers did things equivalent to this, channelling Ian Wallace, channelling Bill Bruford,and young Gavin Harrison very nearly equalled Pat’s power and majesty – nearly.  I would say that ex-Ministry Bill Rieflin is the gentlest of the three, with the lightest touch maybe; but it’s unfair to compare, as he had to leave the drums and play mellotron for much of the set. So Gavin and Pat got the lion’s share of the power drumming :-), but when Bill was free to join them, he rocked just as hard…the three of them are really well matched in every way.

The band left the stage to standing ovations, and then returned for one final song: “21st Century Schizoid Man’ – which rocked the house. Tony was especially good on this one, doing his best to out-play Greg Lake on the bass…while everyone else took a turn at soloing, including the drummers…Mel took an amazing sax solo, and both Robert and Jakko played some great guitar. And then, there was the famous “precision part” near the end,  where the band play a riff, stop, okay a riff, stop, and so on, and of course, the seven of them knocked that bit on the head…Jakko had a great time with the vocal on this one, I think he sounded really good on it.

All in all…a show full of surprises, full of unexpected joys, full of songs that I never dreamed in a billion, trillion, gazillion years I would ever get to see my favourite band in the world play – but last night, I did…I really did.

This remarkable group of seasoned musicians have worked together to create something truly unique, a group where the three drummers are out front, and those who normally solo or support, become the back line…and that strange strange configuration – works. Really, really works. The selection of songs, old and new, is remarkable, and the sense of history here is so strong, carried forward by musicians, old and new – this is also remarkable.

A really, really good show. Enjoyable on so many different levels, superb musicianship, passionate delivery, and a first ever look back across the entire King Crimson catalogue, this band with its front and back lines strangely swapped, really gives you a run for your money – and just about anything might happen – a flute replaces a voice; a guitar becomes a violin, and Robert Fripp bends his strings again, most beautifully, on “Starless” and “Epitaph” and “In The Court Of The Crimson King”.


more app magic… and there’s a last time for everything

well, I am here again to talk about ios applications, which have become such a part of my life, that I can hardly recall the fact that four years ago, I knew absolutely nothing of them.


one of the first and most lasting of ios applications, has been the subject of a quiet revival over the past few months for me, and that would be, the remarkable scape, by brian eno and peter chilvers.

scape was one of the first applications of any kind that I downloaded (at some point in late November 2012!!), and I proceeded to work with it, following it’s “hints”, watching my tools and palettes grow organically, and recording scape after scape after scape after scape.  every time a new tool arrived – I would record new scapes.  a new “background” arrives – and I must records scapes, including, a scape with just that background, nothing else, in it.  and – some of the most incredibly minimal and amazing scapes were created that way.

in fact, I was so incredibly excited about the app, that back in the day,  the I authored no less than three blogs in a row that were mostly about…scape; scape week one, scape week two and scape week three…followed by a fast forward to week five of scape!  during scape week two, I noted that in the short time of just two weeks, that I had created something like 146 scapes.  most of which did not see the light of day until very recently, in early to mid 2015.

in 2012, and during early 2013, though, still feeling my way through the scape processes; I would take a new tool, and mix it up with the familiar, to see what kinds of crazy combinations of instrumentation I could come up with, mixing bells with synths with basses with just plain strange sounding samples.  some times, I would work in a very, very minimal space, one or two objects, very quiet, super ambient – on other days, I would load the scapes to capacity, hmmm, let’s see, what happens if I insert 20 or 30 bass guitars into one scape?  interesting!

so this went on, for a number of months, perhaps, six months – until, one day, abruptly, I stopped.  I had made around 1100 scapes by then, and at the time, I did take the time to record the first 30 or so, so that the world could hear how beautiful this app truly is.  I published those 30, I think I added a few more later on, and there they sat – until 2015.  for some unknown reason, I got the idea into my head, sometime near the beginning of this year, that I should capture ALL 1100 scapes, record every single one of them, capture each and every scape image (and, of course, it’s that “image” that “is” the music – the shapes, generate the music)…I would record them all.

this became then, the great project in the background.  I would work on my progressive rock song – still unfinished – and then, record a few dozen more scapes.   I would spend a Saturday working on my data, or cleaning up my music data – and, the whole time, I would be capturing dozens more scapes.  I developed tools, in SONAR, a special scape “template”, or actually, two of them – one that covered the first 50 numbers of a hundred, and the second, which covered the second 50 numbers in a hundred – which then meant, you only had to choose the appropriate template, and change the prefix from 101, to 401, or whatever you were “up to”.  soon enough, my prefixes started looking like “801”, or “901” and eventually, “1001” – and I then knew the end was in sight.  a few more weeks, and finally – they were all recorded.

of course – the work doesn’t stop there.  each file, has to be lovingly trimmed, removing the header and the tail, and then normalised to -3 db to match all of the previously released scapes – all of which have been normalised to -3.  basically, it’s the simplest mastering job in the universe, because I don’t add EQ, I don’t add reverb (tempting though THAT might be!) – I leave them untouched, exactly the way they come out when the app generates them.  they sound good enough, without me tinkering with them.  however, even though that’s a simple job, I still work on them file by file, one file by one file, to make sure there are no problems (a few stray “pops” have had to be removed from one or two captures – and occasionally, I may have to go and re-capture scapes if they have significant problems – try again – although thankfully, I’ve not had to do that yet…) and that they sound as perfect and as pristine as they can.

the best part of it though, exceeding all, has been HEARING them again.  and looking at the images used to create them, and remembering my thought processes – for example, one thing I loved to do, was, create a “basic scape” – a scape with certain elements, and then, simply copy it over and over again, each time, just changing one aspect of it – which was almost always, the “effects” – the coloured icons on the right side of the GUI, which add flangers or tremelo or chorus or whatever.  originally, that was maybe four or five different “treatments” of the same scape – but towards the end, some new effects – bright orange, and a pale blue, if I recall correctly – arrived, so towards the end, if I did a full sweep, you might get seven or eight “versions” of the same scape.

and – if it was a particularly lovely scape in it’s initial incarnation – then – you ended up with eight absolutely outstanding scapes.  so it was a good technique – take something that is proven sounding good, and then “treat” it seven different ways – and then, pick your favourite of the eight, too.  often, for me, that would either be the deep pink effect, or, the dark, mysterious green – and the green effect, whatever it is, is definitely my favourite.

I could “see myself” thinking up these processes, I could “see myself”, just by looking at the icons, the paintings that I did, that powered the scapes, what I was thinking – here was a section, where everything was COMPLETELY about minimalism.  a single effect, with nothing else.  a single background, with nothing but an effect.  two backgrounds, mixed together.  a single “E” yellow “note”, playing atop a single “mountain” or pyramid.  I could see, that often, I was stuck in “minimalist mode” for days at a time, and then, I would go back to much louder, much crazier scape designs, especially those that contain far too many bass guitars, and yet, still, somehow, work, others, where I intentionally used the most dissonant “elements” possible, to try to create a more “index of metals” vibe, and in fact, I have made a note somewhere, that one of my scapes does sound a bit like “an index of metals” sans Fripp.

as I recorded them, I would occasionally note down the names (of course, I mean the “numbers” of the scapes, since none of them have names!!) of certain scapes that I particularly liked.  then, when I moved into the mastering stage, I would do the same – so I now have a document that I’ve officially started, that is my “scapes of note” document, and once I have completed the mastering (at the rate I am going right now, that will be sometime in 2017 but who knows?) I will publish that list on the music for apps: scape eternal album on the bandcamp site – because believe you me, if you sit and listen to those “chosen” scapes in one sitting, it will blow your mind – it will be like hearing a lost, super excellent super ambient eno album that you never knew about.

for me, in the real world, it’s the equivalent of getting the remastered “neroli”, so that I could get the previously unreleased second disc – a “new”, long form eno ambient piece called “new space music” – which is right up there with “neroli” and “thursday morning” and “music for airports” in terms of being supremely beautiful and supremely ambient.  hearing those chosen scapes, will be not unlike, the first time I heard “new space music” – 50 minutes of previously unheard long-form eno ambient music – it does not really get a lot better than that.

if you had a LOT of time, my recommendation would be – listen to them ALL, from the beginning.  basically, I’ve just done that….listened to over a thousand scapes, and it was the most relaxing, beautiful experience…really relaxing.  with the odd moment of dissonance.

why?  because in my innocent, quiet way, I followed their rules – I did not jump ahead like so many scape users did – and in fact, when I found out there was a hack that allows you to expose all of the instruments, sounds and treatments in one fell swoop – I deliberately didn’t take note of it, and I have never ever done that with any scape install – I would NEVER spoil the journey of discovery that eno and chilvers worked so hard to create.  that’s just me…some want to get to all the toys right away…I was happy to wait.

the advice that the app gives you, and the way you keep receiving more and more amazing sounds, all the time, and the excitement you would feel, when you realised you had just got a truly beautiful eno fretless bass line, or, an amazing floating eno synthesizer riff – every other day, every 20 or 30 scapes – you would get another “present” – it is an amazing way to grow with the application, instead of “cheating” and going to the end…OK, for some, that’s the way, I get it – but, I can tell you – if you listen to these 1100 scapes – what you will hear, is first, a limited palette of sounds.  that directly affects the sound of the resulting scapes, and for a while, it was almost impossible to create a loud or annoying scape.  as you got more voices, and you had more ability to mix voices – then the chances of cacophony or dissonance, or both, increased significantly.

in the middle period, in the 400s and 500s, you get a medium to large compliment of instruments, and, the scapes get more complex, denser – although, I still go on self-imposed minimalist streaks, using the newer tools to create new minimalist scapes even right up to the very end.  and of course, during the last few hundred, I am finally, using ALL of the instruments, and I was receiving no more new updates – I had at last, revealed all of the instruments, backgrounds, and treatments – and then, I kept going…until one day, I just…stopped.

and then, three or four years passed, and I thought – hmmm, I really, really wish I had recorded all of those scapes.  and then that other voice, the one that thinks big, says “well, why don’t you…” and that was that.

four, five months down the road from that internal conversation – and I have them all captured and recorded.

I have, as of a few days ago, mastered 187 of them (which took me up to scape 200 – the numbers don’t match because several scapes were lost, i.e. when you erase a scape, you lose it’s auto-generated “number” – so the track number no longer matches the scape number), and as time permits, I master more and more and more and more.

Until I finish.  And then, once mastered, I upload.  Actually, as I master, I try to upload, because the more I upload, the clearer the decks are for more scapes, to upload later…to date, about 118 of them have been uploaded.

So the sound of scape, and the musical DNA of brian eno and peter chilvers, has been filling the studio monitors for many, many months, weeks and days, and it’s so strange, I’ve listened to well over 1000 scapes this year, all recorded in late 2012 / early 2013.  and just hearing them – it was so mesmerising, it was so, so incredibly relaxing – I would have scapes playing all day long, all weekend long – as I captured them – and after a day or two of listening to scapes being captured, I would be so chilled, so relaxed – they really are like a tonic, I swear – there is something about them, they are ALL so incredibly reminiscent of brian eno’s music, no matter what weird things happen in the scape – it just sounds like eno…they ALL sound like eno.  even the really strange ones – eno.

normally, it’s the ambient eno, but occasionally, you get the really strange, really dissonant eno – or other eno’s – not always pleasant.  but most of the time – you get real ambient beauty – with the very occasional journey into slightly more alternative types of ambient.  it’s a trip worth taking, and if you don’t mind waiting – well, the first hundred and some are up there, free to listen to, on bandcamp – so go have a listen – those top secret never-before-heard brian eno ambient albums are just there waiting – it’s uncanny, how after you hear 20 or 30 0f these scapes, that you get the uncanny feeling that you were just privy to a top secret performance of an unreleased eno ambient masterwork – they just sound great, to me, it will always be the best of the best generative music apps, and it’s difficult to believe sometimes that it IS generative – that the songs are literally created, by creating a visual input, of shapes, colours, backgrounds and effects that are colour-based.  but – that is how it works – you paint a picture, or, you randomly throw shapes onto a canvas – either way, it works if you spend hours meticulously building something very visually appealing, or, if you very randomly add different shapes together, or even on top of each other – or whatever, no matter what the input – it ALWAYS sounds good.

often, I would spend time working on carefully composing and arranging the shapes, more often than not, there would be a plan, a purpose, a desire to make a beautiful visual piece of art…that also happens to generate really beautiful music.

Only very occasionally would I work randomly, when I did, I’d still get good results, but I always preferred creating something beautiful and intentional, trying to make a good piece of art.  scape always rewarded me with interesting, challenging ambient music no matter what the input; I do like to think that taking time to create more meticulous art resulted in better scapes, but I can’t prove it.


and now for something completely different.

I told you last time about my frustrations with Notion.  It seems to be working again now, and I have managed to salvage and finish my interrupted recording, but, I am still not going to publish it yet – as I want to move it from the iPad to the desktop, to see if I can get some better instrument sounds for it – I am just not happy with some of the sounds in Notion for IPad, and I am hoping that via some process, I will be able to create a new mix of the track, using BETTER sounding instruments – so the song is on hold, I won’t release it until I’ve had time to research this.  it’s complete, it’s alternative / jazz, it’s about 8:00 long, and I’m really really happy with it – working title “abstraction distraction retraction”.  though it will be delayed, I hope to have it finished one way or the other and published this year – it’s a good track.

I have started a new track in Notion, another guitar quartet, but this time, steel string guitars rather than nylon strings, as the last guitar piece I did (“fantasy no.1 in d major for four guitars”) was. it’s only a few bars long, but it’s off to a good start, it’s in 7/4 time to start, so that makes it unusual.  working title (likely to be changed) is “relentless refraction of light”.

now that I think of it, I have a number of new tracks in various stages, from embryonic to complete; besides one complete Notion track and one just started, there is also a new proggy piece in Gadget, which is coming along nicely, and a very interesting piece, featuring vocoder vocals recorded in Attack, my new favourite drum machine, I love it!

so there is a lot of music in progress, but given my commitments over the next two months, most of these tracks wont appear until November or December – but, they will all get done, and they will all come out…

and of course there is my song made with real instruments, “the complete unknown” which is probably about 85% complete, that one may need more time, because I am in the middle of real guitar overdubs, which do take time.

I’m very happy though, that one of my very best works in a long time, “abstraction distraction retraction” is done, I do want to see if I can improve the instrumentation, but if I can’t better it, then I will just do the best I can with the existing tools.

in fact, I would dearly love to re-record ALL of my non-classical Notion tracks, with better instruments – I really would.  But – we shall see, time will tell…and all that kind of stuff…


so setting the problem of improving the instrument sounds in Notion for a while, I want to talk about two newer apps that I’ve been playing with, that are both in their own way, quite exciting.


the first one is a free app (well, it was temporarily free anyway) called “YouCompose” and at first, I scoffed – when I realised what it’s premise was – this is it:

you record a melody using a keyboard to input it, and there are various templates you can use, I used a stock quartet of horns, so my solo instrument was a saxophone – so, I played a sax melody to the best of my ability – and then, I pushed the “harmonise” button – and, in just a second or two, literally – it produced three horn harmonies – and damned if they didn’t sound half bad !!

I tried again, with a longer, more complex melody – and again, the almost instant four part harmony – well, three part harmony to your input melody – came out quite well – almost palatable.  With some difficulty, you are able to edit the  parts, you can erase bad notes, change notes with the wrong durations, and so on – it’s not too bad, although it’s no Notion when it comes to editing !

today then, I had a second session with it, and I did a session with guitar harmonics, bass guitar, clean electric guitar, and distorted guitar 2.  I did the harmonics part first, and let the rest be created by the master of harmony, YouCompose.  this time, it was quite a flop – it couldn’t seem to really figure out what to do with just harmonics for input.

so – to give it a better chance – I took command of Distorted Guitar 2 – and recorded a fake “lead solo” with no accompaniment.  pushed the magic “harmonize” button again – and this time, it produced the goods – bass, guitar and harmonics, that accompanied the lead solo really quite well.

it’s fine for free, but it does leave a lot to be desired – I tried to copy my harmonics clip into the bass slot, and it refused to paste it where I placed the cursor – it would only paste it AFTER the two existing clips of harmonics – not alongside or on top of them, as I was wanting to do (I wanted to create some counterpoint, by having the bass “follow” the harmonics – but the app simply would not let me.

so until it’s a bit more flexible with editing, moving, copying, and manipulating clips, I will continue to view it as a fascinating toy – sometimes, it does an AMAZING job of harmonising, but, there is an equal or better chance, that it will produce something quite plodding, or quite inappropriate, that does NOT sound good – and I found that I tended to delete more of it’s harmonisations than I ever saved – I only saved a few, where it had worked particularly well.  And even then – I would probably go into every clip, and make changes, to make it a bit more…human?

It is, however, an amazing experience – to play a series of notes, a melody, on your own, and then, literally two or three seconds later, you have a fully notated set of complex harmonies.  The rules for this thing must have been an absolute bastard to write, and it does operate in different keys and time signatures, as well as having some basic tempo controls (I kept selecting “lethargic” – the slowest tempo – which resulted in some dire and terrible four part harmonies, going by at dirge pace – yuick!) but I do admire the sheer bravado of it – it is hit or miss, but for me, it’s just fun, it’s kinda like spinning the wheel of fortune – will it come out beautiful, plain, or awful?  will it be OK, but flawed in places?  will it, and this is very rare – will it be achingly beautiful?  maybe, once every 100th attempt.

I don’t think that ANY computer can make up harmonies as well as a human computer, but – it can sure do it FASTER.  And if you don’t like the “detail” work of having to write out harmonies for your melodies – well then, this may be the tool for you.

I do find myself gravitating towards it when I don’t feel like working on serious music – hoping, I guess, that the magic three second harmony creator button, might create something truly amazing…and very occasionally – it does.


now, to my final recent discovery, I ran across this last night on the old app ticker – it’s called, I kid you not, “play the golden gate bridge” – and again, at first, I thought – this must be a joke – but it’s not, it’s actually a project by the San Francisco Synthesizer Ensemble (which you can buy on CD) where they have literally, sampled the bridge (and, the app has a special page with nine of the original samples, which are simply amazing) and then there is the actual app, which allows you to play the cables of the golden gate bridge in the manner of a harp – but, using a selection of more than a dozen possible sounds, including “fog horn” (my personal favourite), “waves”. “railing”, “lamp post”, “cable thock”, “cable click”, “south tower”, and another favourite “reverse hit” – you can select any of these amazing voices, which are developed from the original samples – and that sound becomes the sound you play on the “harp” – which is of course, the golden gate bridge, set against a cloudy sunset sky – a lovely image, and it makes beautiful, beautiful sounds.

it also allows for recording, and in fact, it has a little second page where you can record up to four different parts – so it’s like having a four channel TEAC tape deck or something, right there in your app, to overdub parts with – I think that is really excellent, and I can see myself writing pieces for this odd “instrument”, and doing videos of performances with it, too, because it is an absolutely unique way of performing (the only other app I have that is anything like this, is “VOSIS”, where you “play” a marble statue) and it’s actually a lot of fun to play.

also, some of the sounds are so beautiful, really ambient, really natural, strangely – even the metallics, all of them have a wonderful, organic feeling to them – and to me, this is such a beautifully made app – you can just about feel the love that went into it’s making – and, it’s apparently a long-standing tradition with this ensemble – their CD, celebrates the 50th anniversary of playing the bridge, while the app, celebrates the 75th anniversary – so these samples are clearly, in their blood, but also as clearly – in their minds and hearts.  there is also a beautiful art film of the bridge featuring the Ensemble’s music.

this app gets my vote, beautiful, useful sounds coupled with excellent design and playability, I can see myself performing and recording with this app for many years to come – it will especially be great for live performances.


what a wonderful sounding app, and so much fun to play, too!







I had a notion…

on August 3rd this year, I went from having Notion for IPad as my main compositional tool and constant companion, to sitting here once again, rebuilding the instrument database yet again,  and after a full ELEVEN DAYS of having no working Notion, and the score I was working on, which was truncated and horribly damaged, has now been “repaired” three times by Presonus themselves…I’m now walking muttering to myself “well, I had a Notion…”.

I hadn’t realised how very under my skin this handy little app had gotten, I was locked into a happy routine of working on a score almost every day (for something like two years now!) and truly looking forward to that time, too.  To suddenly be without it, and, to have a two month old score ripped into pieces by the app that gave birth to it…I was nearly traumatised by that, to be honest.

Why did this happen?

I can answer that with just two words:
Untested Update.

Presonus rolled out a massive, sweeping update to Notion for IPad, at a point in time that for me, was and still is, utterly disastrous.  A two month old score, more than 90 percent complete…

Woke up one day, turned on Notion…and 90 percent of my score just disappeared.  Like magic, but not the good kind of magic.  The bad kind.  The kind where you push “play”, and the first eight bars roll by as usual, you hear the familiar glockenspiel and timpani introduction with the crashing, distorted guitar chord…and then, while the music is still playing…

the screen goes blank.  Bars 9 thru 200 and something, are now just a big, white, empty, probably scrolling sheet of nothing.

Panic.  I never made a single audio mix of the track.  Not one.  Why would I? … When it wasn’t finished.
Right now, I am really wishing I had,  because I will consider it to be a minor miracle if I do fully recover this piece of alternative jazz-rock-something genre music…which still remains unknown.

Several very unhappy email exchanges with Presonus later, I just received the “fixed” file from their support guy.  I just played it back now.
There’s good news and other news.   The good news is, they did manage to rebuild the score’s notation, the frightening empty white pages are gone, and the piece is complete again.  Huge relief there, the piece may survive…

However…almost all of the sounds, have defaulted back to pianos.  Both guitars, became pianos.  The jazz trumpet part…became a piano.  Both of the Jazz trumpets, I should say, 1 and 2…now pianos.  The solo trumpet,whose unmistakably voice was critical to one part of the song…is now a piano.   The really good news?  Hmmm.  The English Horn still works, and, it even still sounds good.  Unlike the rest.  

The drums seem ok.  The bass guitar is absent, so I guess that it, too, is now…a piano

I re-installed the app a couple days ago, while the guy was “fixing” my score.

I had tried to re-download or restore / re-load the instruments a couple times, you have to leave your iPad on and open until it completes, which, when you have the “all” bundle…takes a few hours.  I left it on all night as usual…

Then the fun part comes.  You get a message saying: “All your sounds have successfully downloaded”.  Ha ha ha ha ha!!! VERY funny.  Not even true, either, usually.  Not reliable.

So you try your broken score again…but the glockenspiel is missing.  And you then find that in reality, NOT all your sounds have downloaded.  So you have to restart the process…again.  And sometimes, again.  Before you can even try to save your piece.
Why is the glockenspiel missing? Why because, it’s not part of the “all” package, it’s a separate download, because it’s “free”.  Only in this case, “free” means, you can have this instrument, but you need to “register” with your full name and email address.  So that’s a cost, you have to give up your personal info, if you want the “free’ glockenspiel.  That’s actually, more like mild extortion.

Truth be told, right now, the way I feel…I’d rather I’d just paid too much for it, than get it for “free”.  Jumping through Presonus’ hoops once, mildly annoying.  Twice, quite annoying.  Thrice, very, very effing annoying.  And when you have to enter your details that fourth or fifth time….you’d rather eat your own hair by then.

They don’t think about that,about what an annoyance and what a waste of precious time, it is, to type in your email address over and over and over and over and OVER again.  When you are already, maybe, the most unhappy customer a vendor could really possibly have.  Why would you put a good customer through that?

Haste makes waste.  It’s not like I am using one of my old IPad 2s, here.  I’m running this app on state of the art hardware.  It should be perfect in this clean environment.  Instead, it’s not just messed up, it’s majorly messed up.

They’ve done one update…the one that wiped out my score, and they are doing another one “soon” to fix these issues.  In my humble, unsolicited opinion…that app was FAR FROM READY to see the light of day.   Not even close!! Clearly, it cannot have been tested properly? I expect better from my vendors, and I am feeling mightily disappointed right now.

To their credit, they are trying to make it right.  But the disruption it’s caused me, the trauma of my nearly complete breakthrough-new-genre-defying piece of music being so damaged, but worst of all, my daily compositional time is taken away, for almost two weeks.

And now, I am waiting for instruments to download…waiting.  Still waiting…

I had a Notion.

Yet…I love this product.  It enabled me to (re)learn notation, which I did understand, but had never written.  My first half a year with it, I wrote notation, and in that first full year, I learned that I could write classical music, I could write jazz, I could write alternative music…with notation, much was possible than was not possible in my pre-Notion pre-IPad days.

I’ve gained skill as a serious composer of serious work, I am now on my fifth piece of classical music, thanks to Notion, so until they broke it, it had been a real game-changer for me…a brilliant piece of kit.

The beauty of the IPad version, was that portability.  Work on your pieces anywhere, anytime, thru headphones, thru Bluetooth speaker…fantastic.  Hear your changes instantly.  Compose on the fly…truly brilliant.  I am really missing that, and I hope I can go back to it, soon,

However. I have not been idle during the unfolding of this great Notional drama.
Some good things have been happening, too.  Believe it or not.

A new song in Gadget, which utilises the new Korg iM1, their beautiful emulation of the classic M1 synthesiser, heavily.  It’s only perhaps, a minute or so in length so far, but it’s really coming along nicely.  I can’t really describe it, except to say it has a quasi classical / jazzy fender Rhodes intro, and from there, breaks into M1 drum kits, mellotron emulation and nothing quite sure what else is happening, but it’s definitely going to be a song,,,I can just tell!  Watch for that eventually, “from hero to zero” it’s called,  on the Gadget eternal album.

Work continues apace on “the complete unknown”, my first long form piece of progressive rock, made with mostly real instruments.  It’s currently at stereo reduction version 8; which means in lay terms, that the acoustic guitar duo-then-trio, has been built (including a final eight hour acoustic recording session last Saturday, ouch), and, along with an extemporaneous live iPad improv using the remarkable TC-11 touch controlled synth, those two pieces have bridged the second intentionally silent section, meaning that this is the first version to play continuously (i.e. no silences) ; the first version featuring the acoustic guitar / TC-11 synth bridging piece; and the first version to be at the extended current running time of 15:57.   The previously tested mix, Version 5, was a minute or so shorter.

What does it sound like…well, it’s still early days in some respects, but there are Rickenbacker basses (dedicated to the late, great Chris Squire, who was a huge inspiration to me as a guitarist, I thought of him constantly whilst composing the bass guitar parts of this song) – so maybe, at a stretch, you could say, “Yes-like basses”…at a stretch,

Powerful drum parts, in the Dave Stafford style, with two silent sections that were back filled later on…and lots and lots of vintage keyboards…Hammond organ, mellotrons, and featuring a keyboard quartet of vintage keys, a one minute-14 second “intro” to the piece proper…but, no electric guitars yet, or guitar synths.

That’s next; wish me luck!!

Best of all, as of a few days ago, Phase One of a Very Large Ambient Music Project is now complete.

Because of that, I’ve now increased the number of scapes available on the scape eternal album, to a nice round 100 !!    So please, go and have a listen…always free to listen.

So until I can change “I had a Notion” back into “I have a Notion”, and my composing ritual can be safely re-established, you will have to make do with reports of other projects, of which, as always, there are many, and, a rather large number of new Brian Eno and Peter Chilvers samples to delight in, contained with the last 30 or 40 scapes uploaded…happy ambient Eno/DNA/ambient dreaming…