Mellotronists

"March 26 -1969
Justin Hayward, Graham Edge and Tony Clark are impressed.  Prospective UK
tour by the Moodies with King Crimson in support.
The Moodies dropped the idea shortly afterwords.  David Enthoven found the
reason from Graham after altering his state of consciousness one evening:
King Crimson were simply too strong."
RF.
  Thus quoth Master Fripp in the insert bit to The Young Persons' Guide to
King Crimson.
 Discuss further, but it does sorta say a lot.
----- Original Message -----
From: <ferrograph@...>
To: <Mellotronists@yahoogroups.com>
Sent: Wednesday, May 15, 2002 3:02 AM
Subject: Re: Fw: Fw: [Mellotronists] duh moment


> << Other than Ian McDonald and Mel Collins, I think it
> should generally be banned. Or maybe rock flute players could be
> licensed... >>
>
> picky picky picky. most rock flute players I've heard are trying their
> damndest to retain some delicacy in the face of overwhelming odds; blowing
> across the end of a foot-and-a-half of tubing, nearly always miked up
wrong,
> with a wall of marshalls (or whatever) a few feet behind them. and would
the
> world really be a better place without tull?
> I still mourn the passing of the monsoon bassoon, one of london's
brightest
> new-prog hopefuls of the last decade. they managed (or sarah did) to
exhibit
> flute, sax and sarah's own rather delicate singing through some of the
most
> indifferently constructed and operated p.a. systems I've ever.... (&c &c).
I
> know that the rock-flautist's duff choice of musical setting is hardly a
> defence, but it's pretty brave all the same. even a triangle player (an
> equilateralist?) can hit his thing harder if he needs to.
> and there are some dodgy flautists outside rock too- that james galway,
for a
> start. for god's sake, stop fidgeting man! just because you're irish
doesn't
> mean you can arse about and be mischievous *all* the time. (oh- it does?
> where do I sign?)
> my mother taught about seven flautists so I know a bit about the things
> flute-players are and are not supposed to do, and frankly, fuck all those
> rules.
>
> personally, I quite like a bit of expression to creep in by way of
breathing
> noises, breathing where you think you should and not where the teacher
says
> the composer meant you to, clanking of teeth or microphone, waving the
thing
> in the air and brandishing it like a magic wand or cheerleader's baton.
> without all that, you'd have little more than a wobbly sine wave- may as
well
> get an ondes martenot.
>
> of course, what sets *our* flute apart, and even "cloth-ears" salley has
> noticed this :-), is that it's possible to play for hours without
breathing
> and occasionally more than one note at a time. in fact, it's quite hard
not
> to. I reckon that pinder may have had a crack at the solo and then
> ray-what's-his-face, "the gay waiter" (per the prog rock top 10 tv show I
> mentioned passim), repeated the line on real plumbing. it's always
surprised
> me how little 'tron there is in "nights" when you listen really hard. I
mean,
> obviously it's there, but the flute isn't 'tron, and quite a lot of the
rest
> of the arrangement is "real", not memorex (or e.m.i.).
> it must've been quite a kick up the arse for the moodies when "court" came
> out. discuss.
>
> duncan/400nr1098- sort of hoping there'll be an ian anderson flute set one
> day, and a pablo casals cello while we're about it. or jack bruce. jack
bruce
> cello. and andy mackay saxophone. ah yes.
>
>
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