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Re: ProjeKct 2 (ELooPs), Marshall



Marshall

, with regard to this, I did not mean: what was Emerson, Lake, and Palmer
doing, what I was asking, and I admit full well it is seemingly ambiguous,
is: what is it in your own looping that relates back to the feeling that
E,L and P gave you?  I may have to rephrase this question again, but I
think that is the just of it.  To explain more, the question links feeling
>from an experience to someone looping in a perhaps then radical manner, to
taking that and trying to translate that feeling into one's own loops.  &
this is all relation to Laurie's paragraph about E,L,P.
This is Laurie's segment which I found particularly interesting about 
E,L,P:
(see end for explanation)

Story time, girlz and boyz: I'm reminded of the first time I heard 
Emerson, 
Lake, and Palmer in concert, early 70's.  (Oh gawd, that just about puts me
in 
Grandmaville, doesn't it?  @8^)  I went to their first-of-tour warmup 
concert 
in a little college town, and they blew me away.  It was flawless, 
intense, 
dynamic - big flashy show. Two nights later I saw them in the city.  Clone 
concert, absolutely identical down to the note, nuance, rap, 
look-up-at-the-crowd-with-sexy-smile-on-this-measure, *everything*.  I was 
really disillusioned.  Of course it practically *had* to be done that way; 
it 
was a tightly orchestrated and timed production, a huge, expensive tour,
loads 
of technicians each playing a precise and critical part.  And it was 
*very* 
impressive, at least the first time around!  Besides, who was I to judge?
They 
were playing their own ground-breaking, technically demanding music, the 
concerts were hot, their records were selling, they weren't working day 
jobs, 
and they were touring the world!  Not too damn bad.

But still, the impression lingers.  It's not *their* fault I was
disillusioned. 
They were playing their butts off, delighting their fans, and paying the
bills. 
 (I do wonder, though, if by the end of the tour, the repetition started 
to 
feel stifling, even with the adrenaline rush of playing for huge 
enthusiastic 
crowds.)  The problem was only mine, in that my expectations were pretty
na•ve 
and idealistic.  However, _I don't think that idealism was unfounded at 
all._ 
 It was a major turning point for me in terms of realizing that 
improvisation 
was a more satisfying direction for me personally.  (Not terribly 
lucrative, 
however.  I've certainly had to play my share of covers to pay the rent.  
At 
least ELP were playing their *own* covers!)


So the feeling is, she has some ideals which she thinks justified in
having, she had an emotion intially of distate, and then in partial
agreement with ELP.  But she feels there is more to it.  "It was a major
turning point for me" toward impovisation.  My question follows, what does
she do with style or feeling of improv that relates back to this
experience, that comes to her looping?  Your looping?  Or do you use
looping as just a technical base to play over?  
Kind of complex, but I hope worth answering.
Noiseless Semantic dreams &
Best wishes,
Mjh 
>