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Looper's Delight
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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 >