Originally Posted by Pollyanna
Agree. There is a fairly straightforward hedonistic pleasure I get from a lot of prog - all those wonderful sounds, textures and forms. It's nearly always at an arm's length, of course. A lot of critics seem to be offended when a band doesn't try to "talk" to people. Dumb extroverts - they just don't understand :)
Re: KC ... to be fair, yep, LTIA --> Red didn't have the lush gorgeousness of, say, the buildups in Epitaph and ITCOTKC, there were some special moments like that wonderful spooky noodling with all the cool percussives in the middle of Easy Money, the wonderful spikiness of LTIA (esp Pt 1) and the grandiosity of Starless. Even my mum liked the first section of Starless ... or should I say "movement"? hehehe
Masses and masses of glorious pretension!
You picked out the most pretension parts of even the latter Crimson, :)
and yes coming to mind that Easy Money percussion interlude is fun. That band had something with Jamie Muir that they were unfortunately never able to fully realize. I think it came to pass in the 80s Crimson though that was more percussive and rhythmic.
Emerson's Tarkus was actually the subject of a concert in Japan where is was re-orchestrated for full orchestra.
The esteemed Tokyo Philharmonic Orchestra will perform Keith Emerson's progressive rock composition "TARKUS" newly arranged to an orchestral piece by composer/arranger, Takashi Yoshimitsu.
Here is Keith's comment on this inaugural performance.
"This is a great honour for me to have my music played and presented with such esteemed players!!! Arranger Takashi Yoshimatsu and orchestra play my work in a land I have grown to love since I first visited Japan in 1972 with my band.
I wrote the ‘Tarkus Suite” 1971 in England. Artist WIliam Neal originally provided the imagery after I came up with a fictitious name for the music I was writing. It was a unique time frame of musical composition and experimentation for me as the changing times and the time changes for England became out of time. I left England as we all had to deal with political issues in subtle ways and it all played its part in the way of things until it grew to define a historic mark as to what is now known as progressive rock music that now falls into contemporary classical.” -- Keith Emerson
Emerson recognizes that what transpired in English popular music during the late 1960s and 70s was a little more influential than some critics would have thought. In the hands of a great arranger, some of that stuff could be quite good, and the height of pretension.
Takashi Yoshimatsu was born in Tokyo in 1953, and studied at Keio University (Department of Technology). He taught himself composition, joining a jazz and rock group, although he has studied under Teizo Matsumura for a short while. He became disenchanted with atonal music, and began to compose in a free neo-romantic style with strong influences from jazz, rock and Japanese classical music, underscoring his reputation with his 1985 guitar concerto.He argues for a "new liricism" and objects to unmusical "modern music". Yoshimatsu's supporters enjoy his easy, tuneful style and sense of the capacities of different instruments, although critics complain that his work is simply a post-modern jumble with little coherent theme.