King Crimson - B'Boom (Live At The Warfield Theatre, 1995) скачать в хорошем качестве

King Crimson - B'Boom (Live At The Warfield Theatre, 1995)

Visit Bill’s online store for exclusive and signed items: https://www.shorturl.at/adnpq This is, I believe, the first slice of the King Crimson sextet – or ‘double-trio’ - from the mid-1990s, on this Channel. That beast made a healthy roar, especially in a fairly confined venue like, say, New York City Town Hall. The title 'B’Boom' is a play on 'M’Boom', the name of a percussion group led by one of my favourite musicians Max Roach. Their pieces were composed, finely executed works for seven or eight percussionists that refined the primal action of striking a surface into fully formed compositions with great artistic weight. I similarly wanted to do a powerful but orchestrated percussion piece; Pat (Mastelotto) and I woodshedded this a lot. It’s basically in three sections: the first is a Fripp soundscape. At 2‘30”, Pat introduces the second section with a steady 6/8 on muted toms while I improvise with different meters against and around it. The third section begins with my snare drum figure at 4’17”. Fripp’s soundscape builds to a peak and dead stop at the end of this recurring cue. The meter moves to a quicker 7/8 with a written figure that Pat and I meet up on, and I diverge from, as the spirit moves. We play it in unison until the snare cue reappears at 4’57” and signals groove-fun up on the ride cymbal. Something of my double-drummer groove with Phil Collins on Genesis’ ‘Cinema Show’ about this. At 5’27” the cue signals Pat to play the lick as quietly as possible, before a max strength (fff) return to a final cue into Thrak. There’s a lot of Gavin Harrison’s metrical play in B’Boom, and Gavin following me into the band was a perfect fit. He is a master. This is not the right forum to discuss the topic, but I recommend a review of Fripp’s take on expertise and mastery in King Crimson https://www.dgmlive.com/in-depth/frip... . Long beyond competence and proficiency, the expert has acquired some special skills or knowledge by training, study, or practice. In respect of performance, such skills might include, importantly, interpretative techniques. Beyond even the expert, lies the domain of the master (or maestro). Krampe and Ericsson distinguish an ‘eminent’ (or perhaps ‘masterful’) performer, one who “irrevocably changes and expands the known possibilities for a given instrument or repertoire” from an expert. Eminence (or perhaps mastery), they suggest, “lies beyond the mere acquisition of skills and interpretative techniques”, sufficient of which qualify the performer as “expert”. To be a master, you have to change the way people do things. [Ralf Krampe and Anders Ericsson are cited in Eric Clarke, Creativity in Performance, p. 20, n4.] #billbruford #yes #drummer #paistecymbals #tamadrums #kingcrimson #drumsolos #earthworks #electronicdrumkit #jazzdrummer #billbrufordsearthworks