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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. -
78071 187 14782.Pdf
03 "Se han convertido en una de esas bandas que están más allá de los géneros" “Tuvo muy buen muy recibimiento, pero casi inmediatamente“Tuvo después se transformó en una rareza, era difícil de pillar. id Smith, colaborador de las presti- ro 30, pensé que sería bueno hacer la versión que ejercen escapa a los confines del rock progresivo y giosas revistas Prog Magazine, MOJO, nueva para esa fecha, veinte años después. Por creo que la razón es que la música creada por la banda Classic Rock y Record Collector —en- fortuna, fui capaz de sacarlo a tiempo”, dice desde los sesenta y setentas, hasta los años ochenta, ha tre otras— mantuvo desde el año 1999 riendo. Esquizoides en el siglo XXI cubierto mucho terreno estilísticamente. No solo han un blog en el sitio oficial de King Crim- tocado un único tipo de música. Los discos que van des- Sson, posteriormente llamado Krimson News y -Imagino que nunca pensaste ver a King Crim- de In the court of the Crimson King hasta Discipline en luego Postcards from the yellow room. En el son activo 50 años después de su creación. Al el 81 -e incluso más allá, como Thrak en 1994-, casi to- año 2001 editó la biografía titulada In the court comienzo el proyecto se disolvió apenas se lan- dos suenan diferentes, en especial los primeros cuatro. of King Crimson, coincidiendo con el aniversa- zó el disco debut, y ha pasado por muchos quie- Incluso así, todos suenan como King Crimson. rio número 30 de la banda. ¿Por qué? “La res- bres en su historia. -
Tesi Del Dott. Jacopo Conti: Minimalismo ... -.:: Franco Fabbri
UNIVERSITÀ DEGLI STUDI DI TORINO FACOLTÀ DI SCIENZE DELLA FORMAZIONE CORSO DI STUDIO TRIENNALE IN D.A.M.S. DISSERTAZIONE FINALE Minimalismo, modalità e improvvisazione nella musica dei nuovi King Crimson Relatore: Candidato: Ernesto Napolitano Jacopo Conti matr. n° 259083 Anno accademico 2006 - 2007 A mia zia, che credeva in me e mi ha sempre sostenuto. 1 PREMESSA “King Crimson was more a revolving door than a band. ” - Robert Palmer La cronologia dei King Crimson (KC) dal 1969 al 2003 è assai articolata, e include vari stili e molti musicisti con una sola presenza fissa, quella di Robert Fripp (1946), chitarrista e compositore inglese fondatore del gruppo. Considerati tra i fondatori del progressive rock, pubblicano l’album In The Court Of The Crimson King 1 nel 1969 con Fripp alla chitarra, Ian McDonald (1946) al sax e al mellotron, Michael Giles (1942) alla batteria, Greg Lake (1948) al basso e alla voce e Peter Sinfield (1943) nel ruolo di paroliere. I lunghi brani strutturati, gli elaborati riff suonati all’unisono e i testi di ispirazione fantastica e fiabesca non solo diventano la caratteristica principale del gruppo, ma anche gli elementi fondanti del nuovo genere. Già con il secondo lp, In The Wake Of Poseidon (1970), la formazione viene rimodellata: Mel Collins (1947) prende il posto di McDonald al sax, Gordon Haskell canta in alcuni brani (durante la lavorazione del disco Greg Lake abbandona il gruppo per andare a costituire il trio Emerson, Lake & Palmer), si aggiunge al pianoforte Keith Tippett (1947). Il gruppo si scioglie per qualche mese dopo l’incisione del disco per poi tornare, con un’altra formazione, alla fine del 1970. -
Of Virtual Spatiality: Surround Sound Mixing in King Crimson's Back
Toivo Burlin: The creation (and re-creation) of virtual spatiality: Surround sound mixing in King Crimson’s back catalog box sets Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi Burlin, T. (2019). The creation (and re-creation) of virtual spatiality: Surround sound mixing in King Crimson’s back catalog box sets. In J.-O. Gullö (Ed.), Pro- ceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi (pp. 37-53). Stockholm: Royal College of Music (KMH) & Art of Record Produc- tion. ISBN 978-91-983869-9-8 © The editors and authors own the copyright of their respective contrubutions. Toivo Burlin: The creation (and re-creation) of virtual spatiality: Surround sound mixing in King Crimson’s back catalog box sets Abstract: The article analyzes surround mixing of King Crimson’s analog recordings. “Lizard,” “Larks’ Tongues in Aspic (Part 1),” “The Night Watch,” “Trio,” and “One Time” are analyzed using the theoretical perspec- tives of the music recording as representation and spatial design. There is a difference between live and studio recordings in surround: live recordings tend to be mixed according to the direct/ambient principle, while studio re- cordings are mixed according to the principle of direct-sound all around. Live recordings in surround can also often be understood as examples of documentarism, and studio recordings as examples of hyper realism. The spatial design of the surround mix tends to emphasize aspects of spatiality in the broad sense: where the recording can, for example, be interpreted as a landscape in sound. Introduction This essay discusses some tendencies in the emerging conventions in con- temporary surround mixing of popular music. -
King Crimson Alla Corte Del Re Cremisi
King Crimson Alla Corte del Re Cremisi in memoria di Brian Jones, con varie formazioni (Battered Ornaments, Third Ear Band, Family, Alexis Korner e Screw), ma sono proprio Fripp & Co. a lasciare il segno più tangibile nella serata davanti a 600.000 spettatori entusiasti. Il 10 ottobre è una data da circoletto rosso, viene, infatti, pubblicato uno dei dischi più affascinanti e innovativi della storia del rock: In The Court Of Crimson King (sottotitolato An Observation By King Crimson). E’ quasi impossibile trovare nel panorama musicale un'opera d'esordio così complessa e perfetta, illuminata dai testi di Pete Sinfield, reale quinto uomo in campo. Le sue liriche - essenziali, epigrammatiche, fantastiche e paranoiche - attingono dalla letteratura favolistica medioevale britannica e dall'elegia sepolcrale inglese del Settecento. Si passa dai riff graffianti e penetranti di 21st Century Schizoid Man, all'intensa magia di I Talk To The Wind, al respiro epico di Epitaph fino al sontuoso finale di The Court Of The [Le catene arrugginite delle prigioni- In assoluto tra i gruppi più amati e Crimson King dove viene presentata apprezzati dall'esigente popolo al gran completo la folle e bizzarra luna sono infrante dal sole/Cammino progressivo, i King Crimson si Corte del Re Cremisi. Greg Lake, per una strada, gli orizzonti cambiano formano ufficialmente il 13 gennaio spettacolare al basso, mette in viva l'inizio del torneo/Il pifferaio viola del 1969 quando quattro giovani e luce la duttilità del proprio canto, valenti musicisti (Robert Fripp, Ian mentre Ian McDonald recita a inizia il suo pezzo, il coro canta McDonald, Greg Lake e Mike Giles) meraviglia la parte del tastierista in dolcemente tre cantilene in una si ritrovano per la prima volta a tempesta con pizzicate agili e vecchia lingua per la Corte del Re suonare al Fulham Palace Cafe di nevrotiche. -
King Crimson Barclay James Harvest
King Crimson Barclay James Harvest Oplæg af Flemming Vestergaard til Gladsaxe Bib. Rocklytteklub nov. 2016 King Crimson & Barclay James Harvest Koncertaktuelle efterår 2016 i København Dannet i slut-60'erne og stadig aktive Spiller progressiv rock og anvender mellotron King Crimsons musik er intellektuel, eksperimentel, kompleks og abstrakt. Teksterne er ofte litterære, filsofiske, dybsindige eller sarkastiske Barclay James Harvests musik er lyrisk, melodisk, ofte folkemusikinspireret. Teksterne er fortællende og fyldt med poesi og følelser. Vi hører King Crimson - ”Moonchild” King Crimson – Robert Fripp Født 1946 i Dorset, Storbritanien Ingen musikalsk baggrund i familien Lærte at spille guitar som 11- årig Er den eneste som har spillet med King Crimson i alle årene. Spiller guitar og mellotron på næsten alle albums Dannede trioen Giles, Giles & Fripp i 1967 som spillede tidens psykedeliske musik iblandet tale og eksperimenter. Dannede King Crimson i 1968 med Ian McDonald (voc,ts,fl,kb), Michael Giles (voc,dr, perc), Greg Lake (voc,b) In the Court of the Crimson King Udkom 1969 på Island Records Vi hører ”In the Court of the Crimson King” Anses for et banebrydende album for den progressive rock. Musikken er symfonisk og eksperimenterende. Teksterne blev skrevet af Pete Sinfield, som fulgte bandet nogle år Greg Lake forlod KC året efter og gik med i Emerson, Lake & Palmer. Mellotron Analog sampler opfundet 1963 Vi ser Paul McCartney demonstrere den Fungerer ved at hver tangent er tilknyttet sin egen båndafspiller med 8 sekunders bånd Hvert bånd har et antal forudindspillede orkesterlyde. Visse af dem blev meget populære i rock. De første modeller var meget dyre og kostede 1/3 af prisen for et hus. -
In the Court of the Crimson King
Rock Vinyl Revival Presents A Brief History In the Court of the Crimson King Rock Vinyl Revival In the Court of the Crimson King In the Court of the Crimson King (subtitled An Observation by King Crimson) is the debut studio album by English rock band King Crimson, released on 10 October 1969 by Island Records. The album is one of the rst and most inuential of the progressive rock genre, where the band largely combined blues inuences that rock music was founded upon with elements of jazz, classical, and symphonic music. The album reached number ve on the UK Albums Chart and number 28 on the US Billboard 200, where it was certied Gold by the Recording Industry Association of America. It was reissued several times in the 1980s and 1990s using inferior copies of the master tapes. After the original masters were discovered in the Virgin archives in 2003, the album was remastered again by Simon Heyworth and reissued in 2004. A 40th anniversary edition of the album was released in 2009 with new stereo and 5.1 surround sound mixes by Steven Wilson. King Crimson made their live debut on 9 April 1969 and made a breakthrough by playing the Rolling Stones free concert at Hyde Park, London in July 1969, before an estimated 250,000 to 500,000 people. Initial sessions for the album were held in early 1969 with producer Tony Clarke, most famous for his work with the Moody Blues. After these sessions failed to work out, the group were given permission to produce the album themselves. -
Quadraphonicquad Multichannel Engineers of All Surround Releases
QuadraphonicQuad Multichannel Engineers of all surround releases JULY 2021 UPDATED 2021-7-16 Type Engineer Year Artist Title Format Notes 5.1 Production Live… Greetins From The Flow MCH Dishwalla Services, State MCH Abraham, Josh 2003 Staind 14 Shades of Grey DVD-A with Ryan Williams Quad Abramson, Mark 1973 Judy Collins Colors of the Day - The Best Of CD-4/Q8/QR/SACD MCH Acquah, Ebby Depeche Mode 101 Live SACD The Outrageous Dr. Stolen Goods: Gems Lifted from P: Alan Blaikley, Ken Quad Adelman, Jack 1972 Teleny's Incredible CD-4/Q8/QR/SACD the Masters Howard Plugged-In Orchestra MCH Ahern, Brian 2003 Emmylou Harris Producer’s Cut DVD-A MCH Ainlay, Chuck David Alan David Alan DVD-A MCH Ainlay, Chuck 2005 Dire Straits Brothers In Arms DVD-A DualDisc/SACD MCH Ainlay, Chuck Dire Straits Alchemy Live DVD/BD-V MCH Ainlay, Chuck Everclear So Much for the Afterglow DVD-A MCH Ainlay, Chuck George Strait One Step at a Time DTS CD MCH Ainlay, Chuck George Strait Honkytonkville DVD-A/SACD MCH Ainlay, Chuck 2005 Mark Knopfler Sailing To Philadelphia DVD-A DualDisc MCH Ainlay, Chuck 2005 Mark Knopfler Shangri La DVD-A DualDisc/SACD MCH Ainlay, Chuck Mavericks, The Trampoline DTS CD MCH Ainlay, Chuck Olivia Newton John Back With a Heart DTS CD MCH Ainlay, Chuck Pacific Coast Highway Pacific Coast Highway DTS CD MCH Ainlay, Chuck Peter Frampton Frampton Comes Alive! DVD-A/SACD MCH Ainlay, Chuck Trisha Yearwood Where Your Road Leads DTS CD MCH Ainlay, Chuck Vince Gill High Lonesome Sound DTS CD/DVD-A/SACD QSS: Ron & Howard Quad Albert, Ron & Howard 1975 -
King Crimson Est Un État D’Esprit
AYMERIC LEROY Plus qu’un groupe ou qu’un style musical, King Crimson est un état d’esprit. C’est en tout cas ce qu’affirme sa figure emblématique, le guitariste et compositeur Robert Fripp. Une vision artistique qui transcenderait les individualités pourtant fortes (Ian McDonald, Greg Lake, Michael Giles, Mel Collins, John Wetton, Bill Bruford, Adrian Belew et Tony Levin) réunies sous cette dénomination, justifiant ses KING CRIMSON multiples réincarnations et son évolution musicale au long d’une carrière qui s’est étendue au total sur quatre décennies. King Crimson reste considéré comme une formation référentielle bien au-delà du cénacle des amateurs de rock progressif, dont il est historiquement l’inventeur mais avec lequel il entretient des rapports ambigus. S’il en présente certains des traits caractéristiques – prédilection pour l’expression instrumentale, propension à la complexité harmonique et rythmique – il n’en demeure pas moins en marge de toute classification limitative. AYMERIC LEROY AYMERIC Exemplaire par son intégrité et sa singularité, l’œuvre de King Crimson – treize albums studio, objets récemment d’une série de rééditions unanimement saluée comme un modèle du genre, mais aussi une . discographie live pléthorique – mérite plus que jamais d’être (re) découverte. Aymeric Leroy a co-fondé la revue de musiques progressives Big Bang, dans laquelle il a rédigé de nombreuses études sur les ténors du genre. Expert reconnu de la scène de Canterbury (Soft Machine, Caravan…), il lui a consacré un site internet de référence, Calyx. Aux éditions Le mot et le reste, il est aussi l’auteur de Pink Floyd, plongée dans l’œuvre d’un groupe paradoxal et de Rock Progressif. -
VJAZZ 54 May 2012 Distribution 650 Proactively Collecting, Archiving and Disseminating Australian Jazz Jazz Elbourne He New M E T He Archiv Band at T
VJAZZ 54 May 2012 Distribution 650 Proactively Collecting, Archiving and Disseminating Australian Jazz The New Melbourne Jazz Band At The Archive Jazz Impresario Diana Allen seen here in 1999 with our own Ray Marginson Pg 3 The Many Talents of Clement Meadmore Pg 6 QUARTERLY MAGAZINE OF THE VICTORIAN JAZZ ARCHIVE INC. PATRON: WILLIAM H. MILLER M.A., B.C.L. (Oxon.) (All correspondence to: PO Box 600715 Mountain Wantirna Highway, Mall, Vic. 3152) Wantirna Registered Melway No: Ref. A0033964L 63 C8 ABN 53 531 132 426 Ph (03) 9800 5535 email: [email protected]. Web page: www.vicjazzarchive.org.au VJAZZ 54 Page 2 WHAT A FUN DAY WE HAD Contents Our Fundraiser 03 for the first time Diana Allen Jazz Impresario at the By Mel Forbes Burvale Hotel 05 was held on Inside versus Outside Start Sunday March By Ken Simpson-Bull the 25th. 06 VJA - Not Just Playing Records By Ralph Powell 08 It was WONDERFUL. It was supported by so many Jazz en- Start Playing Jazz Now thusiasts who enjoyed The New Melbourne Jazz Quintet. Reviewed By Kim Harris Ross Anderson (Ldr,sb), Ron 09 Trigg (rds), Peter Upman Sedergreen Evergreen By Bill Brown (t,fh), “Charley” Farley (bj), A Date with the Duke By Bill Brown Jason Linsoon (d). 10 Maria’s visit to the Music Archive in We are all looking Amsterdam forward to the next 11 The Saxophone and New Orleans Jazz one on the 1st of July with Pippa Wilson at Images Diana Allen the Burvale Hotel. Dr Pam Clements Tom Lucas Hendrik Matser Terry Norman Ralph Powell “Australian Women in Jazz” Ken Simpson-Bull A pictorial display at the VICTORIAN JAZZ ARCHIVE Ray Sutton Front Cover Images This display celebrates the contribution made by women to The New Melbourne Jazz Band the Australian Jazz Scene. -
King Crimson - Live in Toronto 1974 (2011)
King Crimson - Live In Toronto 1974 (2011) Written by bluesever Friday, 20 June 2014 16:09 - Last Updated Monday, 28 May 2018 20:16 King Crimson - Live In Toronto 1974 (2011) CD1 1. Larks' Tongues In Aspic: Part II (6:17) 2. Lament (5:05) 3. Exiles (8:22) 4. Improv - The Golden Walnut (11:38) 5. The Night Watch (4:38) 6. Fracture (11:11) CD2 1. Improv - Clueless And Slightly Slack (9:53) 2. Easy Money (7:12) 3. Starless (14:50) 4. 21st Century Schizoid Man (9:37) Line-up : David Cross - violin, mellotron, electric piano Robert Fripp - guitar, mellotron, electric piano John Wetton - bass guitar, vocals Bill Bruford - drums, percussion "King Crimson is, as always, more a way of doing things. When there is nothing to be done, nothing is done: Crimson disappears. When there is music to be played, Crimson reappears. If all of life were this simple". Robert Fripp King Crimson was conceived in November 1968 and born on January 13th 1969 in the Fulham Palace Cafe, London (Fripp/Ian McDonald/Greg Lake/Michael Giles/Pete Sinfield), coming to prominence after supporting The Rolling Stones at Hyde Park. Their ground-breaking debut In The Court Of The Crimson King (1969) described by Pete Townshend as "an uncanny masterpiece", began a career that has spanned four decades and influenced many bands and individuals including Yes, Genesis, Tool, and Porcupine Tree. Despite the original line-up imploding after an American tour King Crimson continued to produce constantly challenging and intriguing music on albums such as In The Wake of Poseidon (1970), Lizard (1970), Islands (1971), Earthbound (1972), Larks' Tongues in Aspic (1973) and Red (1974). -
Mellotron ORDER 08
NEW FROM DESERT♥HEARTS BOOKS SUMMER 2008 ORDER YOUR COPY NOW! GENESIS • KING CRIMSON • YES • MOODY BLUES • STRAWBS • BARCLAY JAMES HARVEST • PAVLOV’S DOG • STEVE HACKETT • FLOWER KINGS • IQ • ENGLAND • XTC • ORCHESTRAL MANOEUVRES IN THE DARK • 21ST CENTURY SCHIZOID BAND • Mellotron The Machine and the Musicians that Revolutionised Rock A history of one of rock’s mythical keyboards — by Nick Awde 592 pages, 300 B&W photos • £19.95 • ISBN: 978-1-898948-02-5 (Hardback) Order your special preview copy DIRECT from Desert Hearts, shipping Monday July 14 (official release date Sept 1). Order online at www.deserthearts.com, or by post sending cheque with the order form below. The Mellotron changed music forever when it appeared in the 60s. Long before the advent of synthesizers, this extraordinary keyboard revolutionised rock and pop music. For the first time, it brought a potentially unlimited range of sounds to a musician’s fingertips. As the world’s first sampler, its pre-recorded tapes included everything from a symphony orchestra and church choir to samba combo and rock’n’roll drum rhythms. The result is an insight into the social history of British pop and rock music—in particular progressive rock—and explains some of the reasons why British music came to rock the whole world. Top musicians, songwriters and producers chart their careers with the Mellotron, the first sampler keyboard whose eccentric mechanism led to it being affectionately called “The Beast”: Tony Banks (Genesis), Mike Pinder (Moody Blues), Ian McDonald (King Crimson, Foreigner),