09.08
DGM HQ.
Autumn leaves grow by my window….
10.08 Before & After Stormy I…
II…
The Morning Shift gets underway in Soundworld II with the revibrated P6 - Brash & Bouncy In Times Square! continuing from yesterday’s end-of-afternoon. Alex has cut in our remixes & we are on a through-vibe of terror.
I liked this one yesterday & I like it today! This the authoritative declaration of Mr. Mundy of the first piece. In addition to his life as DGM engineer, his other lives as drummer, guitarist & singer, Alex is also a plumber. That is, he is a useful member of society & will always have employment. A better name for this piece is Time Groove (NYC).
10.17 Mission Possible is now thrashing about.
10.20 A Space Threshold & into Queer Jazz.
10.30 More thrashing about with Persian E. The Bad News is that, as in any improv, there are periods where the players are negotiating with the Muse for access to her guidance. Until this is forthcoming, there are periods of not-happeningness. The Good News for ProjeKct Six is that these boys walk on & go for it. As an audient, I give high points to players who are prepared to erect a scaffold, climb up, put a rope around their communal neck, and jump. Sometimes, gravity has no hold & they just fly away. And sometimes, gravity wins.
In Times Square, no hanging about for P6.
10.36 Endtime.
12.49 Old Goat and Road Warrior as Logic engineer?
True!
The Good News: this is a significant development of his skill set. The Bad News: the only complex mix problem he faced, and worked through, sounded awful. The aim for P6 is to have a “quality FOH” mix available for DGM download in the near future. For this, the correct choice for Logic Engineer & Sonic Necromancer is David…
At the click of a mouse, David revealed a world of possibilities denied an Old Goat.
David is now in SoundWorld I, working his magic on V-drums. In SoundWorld II, Stormy the Plumbing, Drumming Engineer (and shaky photographer) & Robert are through-listening to Hot Shots From Boston & NYC.
Time Groove (Boston) is now moving forward, relentlessly.
13.09 Through Queer Jazz, Berklee Strut & into Endtime.
13.13 The Berklee compilation is currently at 23’40. Now to NYC beginning with Threshold: Knock! Knock! Who’s There? and into my favouriteTime Groove.
13.23 The combined 116 years of the P6 duo are not in evidence here.
Now Mission Possible. A section edited out of the piece unfairly gives the impression that the drummer has sped up. Graduated accelerando, with the smell of the crowd & greasepaint roaring, is acceptable over a period of time, and therefore doesn’t count. Count Basie is accredited with the quote I pay my men to speed up. That may or may not be accurate, but I remember Victor Sylvester’s Strict Tempo recordings from my Parents’ dance hall: good time & strict tempo are very different.
There is a very well-known English drummer who noticeably accelerated within 2 bars of his first downbeat, and he has recently been on a frontline tour. Perhaps he should have been a plumber: he would have got to the end of jobs very quickly.
13.30 Queer Jazz (NYC).
16.06 Stormy & Fripp returned to SoundWorld I & re-mixed Keswick from David’s fairy-dusting of the V-drum tracks. Probably, the Keswick Theater performance had the best overall form from the four shows.
Then Alec went to the dentist & Ben Crowe of Crimson Guitars arrived…
… with my re-vibrated Chapman Stick (acquired c. 1987) & a prototype version of a Ben Crowe guitar which aims to be a Crowe guitar, one that Ben would like to make rather than simply copy a Les Paul, with the electrics & fittings that I use…
Ben left at four & now Tone Probe are back in action...
David & Robert are in the Late-Afternoon Shift with Brian & Bobby’s Little Fun Record. This is not an album to have played to old-school record executives at dedicated listening sessions. Even No Pussyfooting was denied a major release & effectively suppressed in the US by management & record companies. Downloading, particularly by an artist-led company, now presents an ideal way of releasing work such as this.
Q: Grumpy of Tunbridge Wells has asked the Guestbook why the delay in releasing The Cotswold Gnomes?
A: Three of the original Works Of Unreleased Genius had been included on Fripp & Eno’s Equatorial Stars. Most likely, they were inadvertently included under different titles or working names, and assumed to be unreleased. Sid Smith spotted the exceptional similarities (ie identicalities), and Declan Colgan of Panegyric removed them & re-sequenced the remaining tracks.
And that’s what we’re listening to. This is a better listen than the original album – with one exception: that one magnificent track won’t be on this! says David. But this has Cross Crisis In Lust Storm! retorts Robert, who remembers this beast well.
16.55 Yow! Cross Crisis In Lust Storm! The entry is something of a shock. Recorded in 1992 (?) at an Eno session for My Squelchy Life/Nerve Net.
17.05 Very good says David. Get your credit cards out! I say.
17.06 An enquiry has come in from the t-shirt manufacturer, who sold KC t-shirts at venues in the 1990s & 2000s during our front-line touring life, arriving via the office (Opium Arts) which managed KC in the 1990s. The CEO writes…
I have been approached by someone who is putting together a book called The Art of the Band T-Shirt. She wanted me to ok the attached design for inclusion. I feel it’s a great idea, as it could create a demand for these designs and I would appreciate your approval / comments.
You may want to change or add designs.
Let me know.
Attached in the file with j-peg of the t-shirt design (the Discipline shirt with the knotwork by Steve Ball) is this permission document…
The undersigned hereby represents that the undersigned has the right to grant the permission requested and that the material does not infringe upon the copyright or other rights of third parties. The undersigned hereby agrees to release, discharge, indemnify and hold harmless the Author and Publisher from any all claims and demands arising out of or in connection with the use of the material, including (but no by way of limitation) to any and all claims for copyright, libel or invasion of privacy. This authorization and release shall also inure to the benefit of the legal representatives of the Author and Publisher, its parent company, subsidiaries, licensees and assignees.
From my reply…
Please note the DGM e-mail address as the relevant route for enquiry re: KC matters. Richard, a highly intelligent manager, no longer handles KC. I take this as one indication of his intelligence.
It’s fine with me, as administrator of the relevant copyright, if the t-shirt is included in the book. I have no interest in changing or adding designs: this isn’t my book & I’m not selling t-shirts.
I do, however, take offence at being asked to provide a blanket indemnity for someone’s else’s project in which I have no personal interest nor benefit. What possible reason might I have for this?
So, if this permission is sufficient, fine. Otherwise, fine.
I note that we often receive requests for usages such as this, where we provide source material (“content”) for various projects in various fields, free: free as distinct from pro bono. Why should we give full indemnity to the users of free content when there is no consideration (ie we get nothing in return)?
20.34 David left c. 19.30 to walk home down a dark, wet country road.
My own work for the evening is to deal with the inbox (at 182), now that the subject of my primary concern at DGM, music, has been sufficiently addressed until tomorrow.
23.34
From a pal…http://blogs.zdnet.com/micro-markets/?p=564
How much of
the $50m in stock is going to the artists I wonder?
And this
An evening’s attack on the inbox has brought it down from 182 to 186. In the music industry, that counts as progress.
A draft Churchscapes compilation for CD release is playing to my left. It is gorgeous.
"With commitment, all the rules change."
