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King Crimson Collectors' Club (1969-1974)

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King Crimson Collectors' Club (1969-1974) King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 King Crimson 1 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 Collectors' Club (1969-1974) di Gianluca Livi Articolo originariamente apparso in due puntate sui nn. 35 e 37 (rispettivamente Marzo/Aprile e Luglio/Agosto del 2008) di "Musikbox. Rivista di cultura musicale e guida ragionata al collezionismo", qui pubblicato, con alcune varianti, per gentile concessione dell'autore. Premessa (2008) Alla fine degli anni '90, stanco dei bootleg, Robert Fripp decise di commercializzare ufficialmente alcuni live dei King Crimson su cd, muovendo dal presupposto che, se fino a quel momento i fan avevano acquistato materiale del gruppo dal vivo di scarsa qualità, facendo guadagnare esclusivamente biechi 2 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 imprenditori pirata, poteva egli stesso vendere le medesime esibizioni, ufficializzandone l'uscita sul mercato discografico e, congiuntamente, perseguendo anche un (legittimo) fine di lucro. Poiché anche parte delle registrazioni in suo possesso erano qualitativamente scadenti, conscio dell'impossibilità di immetterle nel mercato senza suscitare polemiche, decise di distribuirle solo agli iscritti di un club, il cosiddetto “Collector's Club”. Coloro che vi avessero aderito, previo versamento di una cifra iniziale abbastanza consistente, avrebbero ricevuto i titoli pubblicati di volta in volta, vedendosi scalato il valore di ogni singolo disco dalla quota d'iscrizione. L'iniziativa andò avanti con ottimi risultati fino al 2002, quando - abbandonato definitivamente il metodo dell'iscrizione al Club - i cd furono inseriti nel catalogo della DGM, unitamente ad album ufficiali dei Crimson e di altri artisti della scuderia. La denominazione “Collector's Club” non sarà tuttavia abbandonata, risultando impressa anche nei titoli successivi. In questa sede analizzeremo le uscite afferenti ai soli anni '60 e ’70, riportate in ordine rigorosamente cronologico, non certo di uscita discografca, ma di data dell'esibizione. Live In Hyde Park 5 Luglio 1969 (Club #12) Stampato con notevole ritardo, a causa del mancato placet di Greg Lake, il vol. 12 della serie, non soltanto è caratterizzato da un'ottima qualità sonora ma documenta la prima performance dal vivo dei Crimson. Più della metà dei brani sono lunghe e inedite improvvisazioni. “Get Thy Beanngs” è una cover di Donovan ricca di assoli ai fiati e alla chitarra. “Mantra”, “Travel Weary Capricorn” e “Mars” si sviluppano a cascata senza alcuna soluzione di continuità. La prima è una ballata in cui emerge il flauto sognante di McDonald, la seconda sembra una session jazzistica che progredisce in rapido crescendo e si chiude con sperimentazioni sonore di stampo minimale. “Mars” non è un inedito (si tratta di “Devils Triangle”, accreditata oggi all’originario compositore Holst, dopo una lunga querelle legale persa dai Crimson), ma viene suonata dalla formazione precedente a quella che la proporrà nella definitiva versione in studio. La scaletta è completata da “Band Reunion Meeting” (registrazione della conferenza tenuta a Londra dai componenti originari della band in occasione dell'uscita del cofanetto “Epitaph” il 15/3/1997) e una (superflua) versione strumentale di 21st Century Schizoid Man registrata ai Morgan Studios il 12/6/1969. 3 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 Track listing "21st Century Schizoid Man" (6:35) (Robert Fripp, Greg Lake, Ian McDonald, Michael Giles, Peter Sinfield) "The Court of the Crimson King" (6:31) (McDonald, Sinfield) "Get Thy Bearings" (9:41) (Donovan Leitch, arr. Fripp, Lake, McDonald, Giles) "Epitaph" (4:28) (Fripp, Lake, McDonald, Giles, Sinfield) "Mantra" (3:04) (Fripp, Lake, McDonald, Giles, Sinfield) "Travel Weary Capricorn" (5:37) (Fripp, Lake, McDonald, Giles, Sinfield) "Mars: The Bringer of War" (3:59) (Gustav Holst, arr. Fripp, Lake, McDonald, Giles, Sinfield) Band reunion meeting (15:19) "21st Century Schizoid Man" (6:48) (Fripp, Giles, Lake, McDonald, Sinfield) Personnel Robert Fripp - guitar Greg Lake - bass guitar, vocals Ian McDonald - saxophone, flute, Mellotron, vocals Michael Giles - drums, percussion, vocals Peter Sinfield - lyrics and illumination Live At The Marquee 1969 6 Luglio 1969 (Club #25) “Live At The Marquee” documenta le esibizioni del 6/7/1969 al Marquee di Londra (Fripp non è 4 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 sicuro che la data sia giusta, motivo per cui la stessa non compare nel titolo) e del 17/10/1969 alla Fairfield Hall di Croydon (limitatamente al brano “Trees”). La resa sonora della prima data è pessima, mentre per la seconda non è neanche il caso di fornire un parametro valutativo, trattandosi di un'incisione catturata a notevole distanza dalla fonte. Le versioni di “21st Century Schizoid Man” ed “Epitaph” estrapolate al “Marque2” sono prive in apertura di una manciata di secondi, mentre “Trees” presenta due brevi tagli all’inizio e si interrompe bruscamente in chiusura. Eppure le performances sono da brivido, splendidamente caratterizzate dallo spirito free di quegli anni. “Drop In” è un'improvvisazione che funzionerà da canovaccio per “The Letters” (traccia apparsa successivamente nell'album “Islands”), come lo è il quinto brano non titolato, che include estratti da “Nola” e “Etude n. 7” attribuite rispettivamente ad Arndt e Matteo Carcassi. “Mars” è presente in una versione addirittura raddoppiata rispetto a quella suonata il giorno precedente (inserita nel Club #12). “Trees” – oltre diciotto minuti di libero suonare - presenta una stralunata armonia vocale a tre voci (Giles, McDonald e Lake), e contiene spunti melodici che poi confluiranno in “Peace – A Beginning” e “Picture Of A City” (presenti entrambe nell'lp “In The Wake Of Poseidon”). Track listing "21st Century Schizoid Man" (Robert Fripp, Michael Giles, Greg Lake, Ian McDonald, Peter Sinfield) 6:21 (contiene "Mirrors") "Drop In" (Fripp, Giles, Lake, McDonald) 5:42 "I Talk to the Wind" (McDonald, Sinfield) 5:17 "Epitaph" (Fripp, Giles, Lake, McDonald, Sinfield) 3:20 (contiene: "March for No Reason" e "Tomorrow and Tomorrow") "Mantra" [not listed] (Fripp, Giles, Lake, McDonald) 7:33 "Travel Weary Capricorn" (Fripp, Giles, Lake, McDonald, Sinfield) 3:34 "Improv" (Fripp, Giles, Lake, McDonald, Sinfield) 12:28 (contiene: "Nola" di Felix Arndt; "Étude No 7" di Matteo Carcassi) "Mars: The Bringer of War" (Gustav Holst) 8:29 "Trees" (Fripp, Giles, Lake, McDonald, Sinfield) 18:41 Personnel Robert Fripp - chitarra Greg Lake - basso, voce Ian McDonald - tastiera, mellotron, voce Michael Giles - batteria, percussioni, voce Peter Sinfield - illuminazione (ispirazione artistica) Live At Fillmore East 5 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 LiveRobertPersonnel"21st"Mirrors")"Tomorrow"TheTrackLamicrofono.Isono“Liveprima“Thecontengononote21-22 PeterMichaelIanGreg"Epitaph""A"21sttre qualitàMan, McDonald brani dei AtCourtAtdavvero Century listingdataLakeCenturynovembreSinfield Fripp PlymouthFillmore libretto).Gilesa finalisonora (Fripp, City" eranoOfofand- i -bass primi the impeccabili.Schizoid Theguitar - Schizoid- della Tomorrow")wordsdrums, (Fripp,(Robertsaxophone, East” 1969 Giles,giàCrimson è guitar,CrimsonGuildhallquattro più secondaapparsi and(Club riporta Man" cheGiles,percussion, Man"Lake,Fripp, vocals minutiKing"illumination discretaKing” #1)flute,(Fripp, nel (Fripp,dueLake,data,McDonald, Michael (McDonald,(Ian cofanetto (un (curiosamente,concertimellotron, sono vocalsMcDonald,ancheGiles, Giles,McDonald,fatto Giles, priviSinfield) che Lake, conEpitaphseLake, Petervocals Gregdi un viene laSinfield) improvvisazione Peter McDonald,fastidiosoilmedesimaMcDonald, - Sinfield)titolo (discLake,8:318:03 stigmatizzato Sinfield) -è1,(Including: McDonald,12:19 privo tracksvento- Sinfield) scalettaSinfield)2:16 -dell'iniziale 2:36 inesistente tamburella 5-7)anche "March sebbeneSinfield)- - mentre7:56 8:05 da “In”),(Including: for (Including:Michaelmatalvolta -letre No12:21 leduenon pezzi Reason"esecuzioni sulGiles,versioni della nellee di Labranounfonti.SIcompetenteesecuzionesuperioreunainterpretazionitalmenteportentososugliimpreziosiscono11 trattaqualitàbootlegMaggio ritmica altri e l'altro,del adeguata per asonora 1971di e che quellediconcertoche dinamicocompetenza,pessima “Getdainsieme non sii(Club brani) segnalareè del sia daThy fantasticaconserva integrale '69) mainonfattura, intro#14) ai Bearings”e primi capacità chemossanecessitarespirito allasono assolutamente (ècon tenutovededue batteria. una innovativo neiquelledil'aggravante tecniche.minuti CollinsDonovan, registrazioneterritoridalla del diTutti e distorsore,“21stformazione cimentarsi mezzo(sue, proprinullai quimusicistiche Century molte propostasoundboard), del dinondel “Get e suoin dei Jazz. dièsonodelle vorticosiSchizoid stato “SailorsCrimsonbackgroundThy in Neimprovvisazioni osmotici,una Bearings”,attuato sebbeneè soli Man”,Tale”,esempioversione forse al alcunrock.sebbene sax conarricchitapiù glisiano la(certamente eAltreattendibileapplausimix la chemagistraleWallace voce stati Collinstra di lediestrattiun tra duefornire Burrell espicchi un da LiveRobertPersonnel"Get"Cirkus"TrackNonostantebassa PeterIanMelBoz"Mars:"21st"Ladies"The"Cadence"Lady"Sailor's"Pictures Wallace CollinsThyBurrellIn
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