DGM HQ David was the
11.25
DGM HQ.
David was the first into the office from the cold valley street, clearing his morning-desk before setting off to London for significant meetings in Vicar World.
Mr. Stormy continued work on KC in Nashville 2000, 12th. & Porter. I walked into a wonderful
Trey Gunn solo over a Soundscape. I am flattered to be often mistaken as the player of Trey’s solos.
A call from the Minx in Swansea, reporting a good show last night and onto Barnstaple today.
To Wimborne for lunch with
Alan Cosgrove. In 1965 Alan took over my position at Father’s firm, Welch & Lock Estate Agents, when I left for Bournemouth College and A Levels, en route to a degree in Estate Management at the CEM, South Kensington. Which didn’t.
17.52 Leaving for Wimborne c. 11.45 from the impressive DGM Parking Lot…
… to The Quarter Jack, formerly Fripp World HQ, now the offices of Alan Cosgrove I…
II...
To
The Tickled Pig for a good lunch, albeit with a lukewarm coffee as their coffee machine is not.
Good covering of a wide area of common interests with my longest-in-lifetime man-pal…
Farewell to Cozzer and into
Square Records (
Ethan Jones in Wimborne), one of the few bona record shops still in action. A catching-up with proprietor Paul Holman, who told me Square Records does well with the vinyl of ITCOTCK. Acquiring David Bowie’s The Next Day.
Back to DGM HQ for file organizing I…
II...
III...
… with even more documentary evidence of Endless Grief.
On the DGM Guestbook…
*The Magic Pinky*???
::
Posted by Ornate_Coal_Man on March 24, 2013
What? So, Fripp has unique musical qualities because he uses his, ahem, pinky in the left hand?
Agreed: not a lot to do with musical qualities. As a young player, few of my contemporaries took the development of the little finger as seriously as I did, and within a year of practicing (1958) the left little finger was visibly longer than the right. For most, calisthenics came way behind developing musical skills, and I was criticized for many years as being a technician.
Instruction at the time was teacher/mentoring by older players; learning by listening to records; primarily by playing live and going to see gigs of other bands.
The scene was very lively with local Bournemouth / Poole / South Coast, touring national and international acts. Richie Blackmore at 18 (with The Outlaws) was stunning, an exceptional technique for the time married to superb presentation: Richie had the moves. At the Bournemouth Winter Gardens I saw Duke Ellington, Segovia, Acker Bilk and the leading trad bands. At the cinemas in town: The Rolling Stones on their first tour, Bo Diddley, Little Richard, The Everlies – even Mickie Most. And many, many more.
Today, we have Berklee, MI et al. That is, musical and instrumental instruction for young players outside the classical area was mostly informal.
working with Bowie
:: Posted by siggister on March 25, 2013
Following my question:
"Would Mr. Fripp like to comment on rumours that he was not keen on working with Edgar Froese in 1977 during the recording sessions for a Bowie album?" Mr. Fripp asked in his diary:
"What rumours are those, please?"… Maybe, accidentally, Mr. Fripp knows the reasons for Mr.Froese’s final decision?
Apologies: I know nothing of any of this.
23.10 And a little practicing…
