I have just been speaking on the `phone with a concert tradition pianist whose unsolicited CD arrived yesterday. They might become a DGM artist. One of my two letters on the subject of unsolicited tapes from yesterday asked this question: "So how does an artist get to be on DGM?". This is a good question, as two forthcoming releases (from Mr. McFall's and Jacob Heringman) are both from "unsolicited" artists. So, clearly this is both possible and actual.
The questioner continues: "(I'm not an artist myself, I'm just curious)". Curiosity is not enough. Any question which springs from need, from driving necessity, contains within it the energy which makes the answer possible. ("The question is its answer"). Curiosity, on the other hand, exhausts. A "curious" question springs from the whirring of our automatic mind, moving associatively along: we are invited to descend the steps into the basement in order to reply.
The correspondent continues with another question in which they discover an answer already waiting: "I guess I've answered my own question...". Questions which spring from need are like this. If we ask a real question, and then interrogate that question for ourselves, it speaks to us. This correspondent kindly adds "No personal reply necessary, but thanks for reading". No personal reply made, and thanks for writing!
15.23
Clearing paper on my desk I have come across this thought for the day, jotted down on the bottom of draft sleeve notes for "November Suite" sometime within the past eighteen months:
Beauty is the reflection of the appearance of truth.
Better to seek truth than the reflection of its appearance.
But better to seek beauty than nothing.
What is this about? Who wrote this down? Where did it come from?
Chris is mixing "Schizoid Man" from 1996 in Mexico City: I look in to vibrate the stereo perspective. Soon, listening to stereo will be a pleasant reminiscence of an historic listening mode to enjoy with old friends.
21.31
Dear Web visitor, you know this time. "The poor computer is desperate to be emptied", says David as "Sometimes God Hides" is being played out and Chris is computing outside. How was David's day? "Awful". This is the authentic voice of a man for whom The Late, Morning and Afternoon Shifts has cumulative effect. But David's morning blast is not Henry the Good, trumpeting voluntarily as it were, but four little toads Singleton who do not share their Daddy's Late Shift.
During my own afternoon, finally fleeing from a long bout with paper, I was just about to head into Salisbury and buy cake for tea tomorrow with Mary Pearce. Mary is an octogenarian of such energy that one forgets she is an old codger. Mary knew Mr. & Elizabeth Bennett for many years, and also the Elliots who visited last week; she is an experienced and august presence at seminars of the Bennett line. As I was about to leave, the door knocker knocked - a feature of my day today. Who is this? rhetorically twitched the irritable Fripp. Mary Pearce and two American friends, come to tea. Fripp, fundamentally reliable that he is, needs recalibrating by one day. We had a great time looking around the house and garden, even without cake. I acknowledge the cumulative effect of Multiple Shifts on this robust but sensitive Dorset creature.
Fortunately, the creative dynamo that is DGM World Central is not diminished in the slightest by our long hours: this is good news, this is bad news. Good news, because our creative output and download into the world is increasing; bad news, because this augurs many long, long days for David and myself.
Other news arising: I am preparing to sell my mellotrons, and preparing a press release (draft) ...
*
Fripp Strips For The Millenium.
Robert Fripp is disposing of his collection of King Crimson keyboards. These are:
Two double-manual mellotrons
Three single manual mellotrons
+ one non-King Crimson single manual mellotron
One Hohner Pianet
The two double manual mellotrons are from King Crimson's "In The Court Of The Crimson King" and "In The Wake of Poseidon" period (1969/70). (The third double-manual instrument was sold to Genesis in February 1970).
Two of the three KC single manuals are from mid-1970 onwards and were used on the albums "Lizard", "Islands", "Larks' Tongues In Aspic", "Starless And Bible Black" and "Red"; and used on the road with King Crimson from 1971/74. They are featured on the DGM archive releases "The Great Deceiver" and "The Night Watch".
The Hohner Pianet sat on top of Fripp's mellotron from 1970 onwards, and was used on "Lizard" and live Crimson; it can also occasionally be heard on archive releases ("Exiles").
Fripp says: "They are all wonderful, historic beasts but impractical for my current musical needs, and any possible future I can anticipate. They require maintenance, storage and insurance, and should be played by someone who loves mellotrons. Or, someone who loves King Crimson. Someone very weird, that is".
The mellotrons will be sold by informal tender through DGM in January 1999, to coincide with the 30th. anniversary of King Crimson, although prior offers are being considered.
Guide prices:
Current market price (instruments without provenance) for double-manual mellotrons: £6,000 - £6,500.
Single manual: £3,000 - £3,500.
The mellotrons are supplied in working condition (serviced by Martin Smith of Mellotron Archives) in England. Transportation abroad is the responsibility of the purchaser.
*
This is the first draft, and first formal announcement. Robert Cervero, eat your heart out.
"We may understand our knowing, but we can't know our understanding."
