Guy Berger

Not much to say. We lost to a much better team by a hair. Guy

Here's a link. A question for those more knowledgeable about Crimson -- I have the May 11, 1971 concert with Fripp, Collins, Burrell and Wallace at Plymouth Guildhall. Did this predate the recording of Islands? Answer: According to the press clippings in the 30th anniversary reissue of Islands, recording for the album was completed in September or October of 1971. The album was issued in December. Guy

Judging by the jazz names these guys are dropping, they had some pretty hip music collections. (How many people were listening to John McLaughlin before 1970?) I think that JMcL was a session musican before becoming known as a Jazz musican. Lots of people would have heard him on the radio and if you into Jazz in London in the late '60s, you would have known who he was. McLaughlin played in the Graham Bond Orgainzation in '63with Jack Bruce, Ginger Baker, and Dick Heckstall-Smith, and recorded 'Things We Like' with Jack Bruce. He also had worked with Alexis Korner,a nd recorded with John Surman prior to this time. So he was pretty well known in musical circles in England already, and certainly Fripp would have been well aware of him. Nevertheless, JMcL was very much a "musician's musician" at this point, even in Britain. Guy

Happy b-day, GoM. Guy

To add to our discussion of King Crimson's (obvious) jazz roots, I was looking through the Epitaph booklet and found the little bios EG* (KC's management) wrote for the band members back in 1969, presumably for promotional purposes. Judging by the jazz names these guys are dropping, they had some pretty hip music collections. (How many people were listening to John McLaughlin before 1970?) McDonald's choice of Handy and Dolphy is somewhat suggestive given the Mingus connection. Guy

Yup. One of my best CD acquisitions of the past year. Guy

$@%#!

I stopped paying attention after the Construkction of Kcrap. Guy

I don't think Crimson became a decent song-writing band (with a few exceptions) until Adrian Belew joined. As far as the Islands band -- I have a few of their live CDs and will give them a spin next week. My recollection is that they sounded better live than in the studio. "Sailor's Tale" is awesome. Out of the three early 70s "orphan" albums I think Lizard is the best, and quite underrated. Guy

At least it's a tune I'm familiar with. Hm...I never made the connection. Interesting thought though. Not an original thought, though -- I think Ed Macan brings it up briefly and offhandedly in Rocking the Classics. Guy

It may be one of the earliest examples of heavy metal. Mingus? How? That R&Bish riffing over a fast 6/8 rhythm reminds me a lot of "Better Git It in Your Soul", though once it moves to the solo section it's more Trane+Elvin. Maybe I'm reading too much into it. I should have phrased it as "an unusual case of Mingus directly influencing a rock song". Guy

I've been listening to In the Court of the Crimson King a lot since yesterday; I feel like my appreciation for this album grows with each listen. One of the (flawed) masterpieces of the late 60s. Probably Greg Lake's best performance on vocals, and he offers some very nice bass playing. Ian McDonald's flute playing is quite nice. Michael Giles's drumming is incredible. Fripp's guitar playing is nice though not quite as distinctive as it would be 3 or 4 years later. As far as the songs -- it's easy to understand why it turned so many heads 36 years ago, because the music is really powerful. "21st Century Schizoid Man" is just a terrific merger of free jazz and heavy metal -- also, an unusual case of Mingus's clear influence on rock'n'roll. "I Talk to the Wind" -- beautiful flute, very nice vocals by Lake, takes the Moody Blues thing and adds a lot of depth. "Epitaph" is powerful, particularly when it builds up to that mellotron crescendo at the end of the verse. Side 2 is weaker -- as I've listened to more and more jazz, my comprehension of the lengthy collective improvisation on "Moonchild" has improved but it's still pretty weak to these ears. "In the Court of the Crimson King" is quite powerful, but far too long and repetitive. (Nice interludes, though.) Guy

Whoops did not know that... I must have confused him with Billy Drewes, who must've been the mystery 5th member of that 2001 quintet. Guy

Maybe I'm in a minority but I really don't like Carter's cello playing, at least in the 60s. Guy

Frank, I take it this isn't the quintet w/Jim Pepper & Ed Schuller? Those guys haven't played together for four years but it would be nice to have another album. Guy

From Alan Lankin's website: NEW Paul Motian Band - Garden of Eden (ECM Records) Jan 24 updated to include personnel info supplied by Frank Kimbrough: Saxophones: Tony Malaby and Chris Cheek Guitars: Steve Cardenas, Ben Monder, Jakob Bro Acoustic bass guitar: Jerome Harris Drums: Paul Motian

I was wondering whether anyone possesses, or has a reference to, a discography of Paul Bley's various recording dates prior to 1970. It seems like there is a ton of this stuff floating around (much out of print), and since everybody is suddenly on alert with the Paul Bley thread I suspect a lot of others might benefit. In particular, does anyone have more information on the dates that ended up on the ECM release Paul Bley with Gary Peacock? Answer to my own question: there is a 200 page discography that you can order from Cadence. Anybody with this book on hand able to answer my second question? Guy

Paul Motian's thoughts on playing with Bley in the 60s:

You have good taste in music for a liar youngster. Guy

No s***! My job requires to me work outside(mailman) and I already have a negative attitude. Well another 11 years and maybe I can retire. I appreciate the job you're doing. It ain't easy. Me too, wisecracks aside. Guy

No s***! My job requires to me work outside(mailman) and I already have a negative attitude. Well another 11 years and maybe I can retire. Just don't take anybody's jazz CD shipment in a fit of anger. Guy

Second snow of the season and I'm already ready for winter to be over. Guy

Really, Dolphy makes for excellent atmosphere. There's just something so evocative about that tone, the lyricism, the intelligence. Wistful and robust, all at once--just like winter. This made me think of Andrew Hill's Point of Departure, which is another "cold sunny winter day" CD featuring Dolphy. Guy

I dig this record a lot. In fact, at some point a few months ago I ended up putting it on the iPod after probably a year or two (at least) of not listening to it. And upon hearing it, I thought "wow this guy's music is good". The album loses focus a little near the end, but there's good stuff the whole way through and "Foot Under Foot" has really juicy, unabashed inside/outside playing. I think I've used that phrase about 5 times today but it really fits here. I'm embarrassed to admit that I haven't heard any of Jason's other work, though he might be playing synths (?) on a Steve Coleman album that I have. Guy

Hmmm... I've given Dance a few listens, and must say that I'm a little disappointed thus far. Izenzon's playing is spectacular, but I wish Brackeen (whose records I must check out!) would play more tenor and less soprano. A lot less intense than what I was expecting, except on the wonderful "Prelude". Guy