Dhafer Youssef, ‘Ascetic Journey’.

Apparently it’s oud on the Pandora channel this morning, and I’m not complaining!  This lovely piece has come up a few times now and continues to get my attention.  I love the mood, the space, the insistence, and of course the eleven.

Looks like there’s at least one live clip out there as well.

Interesting, I think how this live clip demonstrates how tough it must be to pull off such a piece live.  The sound capture is not flattering, for starters–presumably it sounded much better in the room. As well, it strikes me that the ensemble takes a few minutes to find its legs, trying to deliver all that space…together.  (It seems to me that by the end, they’re there.)  But there it is, still identifiable and insistent, and it makes me want to hear more.

Advertisements

‘Blockhead’, imagined…larger.

It’s fun when the Crafties in my TwitFace space show me new musicking things.  One great example, which deserves further posting, has been an introduction to Petra Haden’s a cappella work, among which she has done more than one King Crimson / Guitar Craft piece.  (Check out Hope, Red, and The Sheltering Sky (!);  she’s apparently keen to release an album of such that may wind up with the name “Sing Crimson”.)

This clip is of drummer Dan Moore, playing “Blockhead” on Steve Ball’s Tiny Orchestral Moments project, and it immediately made me wistful for GCCO.

Not only is it fun watching Dan, but the entire arrangement is pretty rich.  (As in:  possibly rich enough to be open to the “ensemble cast film” criticism…but hey, I’m a fanboy and I like it anyway.  🙂  )

Bookmarked!

King Crimson press.

It’s killin’ me, not having any viable way to get to see the Seven- (now Eight-) Headed Beast of Crim on what by pretty much all accounts is a fairly amazing tour.  It doesn’t help that much of my TwitFace feed is occupied by Crafties, who understand better than almost anyone how to listen to a muse like Crimson’s, and who are pretty unanimously agog at this most recent group’s efforts, but then there is press such as this, to which I am simply not accustomed.  Therefrom:

To be crystal clear: King Crimson 2014-2017 is unequivocally not a tribute band, a legacy band or any other of the epithets applied to so many bands from back in the day that have reformed in recent times to capitalize on the burgeoning progressive rock revival of the past couple of decades. In fact, Crimson sits alongside Van der Graaf Generator as, perhaps, one of but a few bands of such longevity to not only reinvigorate its older material with a fresh approach, but to add new material that, with its own distinctive personality, fits as comfortably and with as much strength as the music that made it famous in the first place. And while VdGG remains a thrilling live act that has, out of necessity, been forced to rearrange its material for the trio version that emerged following co-founder David Jackson’s departure after its 2005 comeback album Present (Virgin/Charisma, 2005) and accompanying tour, Crimson’s approach to much of its 40+ year-old material— barring those where the signatures are so prevalent as to demand greater literalism—is far, far freer.

Bookmarked, here, for its simple utility in being a reference for anyone who wants a crash course on Crim in context.  It’s long, but it kinda has to be, too.  It’s also worth reading!

And of course there are always Tony Levin’s road diaries, which are always insightful and not infrequently amusing as well.  From one recent entry:

And a Crimson train wreck is, well, not like other bands… a King Crimson train wreck takes out the whole train station. And maybe the town it’s in!

By now, we certainly knew we had a problem about how to bring this piece together. There’s no just counting ‘one two three four’ when one player’s in 28/8 and others in 7/4 offset a quarter note from each other, and the drummers waiting to join in in 15/8 to signal finally getting beyond the verses!

One of the things I have always loved and appreciated about KC is the willingness to take huge risks.  What’s cool is to hear of so many opinions that mirror my own experience, that sometimes they fall flat on their faces…but the other times make all the train wrecks more than worth it!

So, I’m stoked that things seem to be working so well, but heartbroken that I may not get to see it before it’s concluded!

Billy McLaughlin, ‘William’s Run’.

Just wanted to document an insistently lovely piece from guitar inspiration Billy McLaughlin.  Via Pandora I have found that I like a lot of his work, and the story of his struggle with focal dystonia does rather add to the mystique.

Anyway, I love this piece, “William’s Run“.  Bookmarked!

Tommy Emmanuel, ‘Lewis and Clark’.

Aussie guitarist Tommy Emmanuel is an absolute monster–he’s as close to “if it can be played, he can play it” as anyone I am aware of.  He’s a master of both gobsmacking technique and performance persona, two things that rarely go together effectively.

And some of the songs are just breathtakingly lovely.  This one sneaks up on me every time I hear it on Pandora–I’ve now lost count of the number of times I’ve gone to give it a thumbs-up, forgetting that I already have.  That’s happened with a few other tunes, but nowhere nearly as often as this one.

Behold:

Oh, to have been sitting in the control booth when he did that. Oi!

And then there is the magic of watching the man work:

Bookmarked!