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Jamie Muir, Michael Giles, David Cunningham |
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Info: Biography, Pictures, Discography of all CDs & DVDs |
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| Toop had suggested they try me instead.These eventually became the basis of sections of 'Ghost Dance'.In those days Ken didn't write scripts in the conventional
sense.Certainly nobody was ever allowed to see his scripts.So it should be improvised.Recording continued for two more days.This
was dropped because of what the NME would be likely to make of it.In the
event we have never been mentioned in the NME.These didn't necessarily end up in the right place in the film but
it was still a productive way of working.Brixton, from 10th May 1983.Especially with our stuff.His
music editing is still a surprise to me.Ken Campbell making a film for Central TV.This article is about the British percussionist.For the Nova Scotian Minister of Education and politician, see Jamie Muir (politician).Jamie Muir was a UK percussionist best known for his work in King Crimson.Major Surgery) and Assagai with Alan Gowen and others.David Cross reports that "We all learned an incredible amount from Jamie.He really was a catalyst of this band in the beginning and he opened up new areas for Bill (Bruford, at that point the group's "conventional" drummer) to look into as well as affecting the rest of us."With King Crimson, Muir occasionally played a standard drum kit, but more often, he contributed to Crimson's music with an assortment of unusual sounds from a wide variety of percussion instruments, including chimes, bells, thumb piano, mbiras, a musical saw, shakers, rattles, and miscellaneous drums.Muir also used various found objects as part of his percussion repertoire.In 1972 Muir decided to pursue a monastic lifestyle, in accordance with the strict principles of Buddhism.He had just completed his contribution to Lark's Tongues, released subsequent to his departure.The British Press at the time attributed his decision as the result of "personal injury sustained onstage during performance", a phrase attributed to the band's management company, E'G.This article about a Scottish musician is a stub.You can help Wikipedia by expanding it.This page was last modified 17:48, 18 December 2007.See Copyrights for details.Cunningham's work has ranged from pop music to gallery installations, including work for television, film, contemporary dance, and a number of collaborations with visual artists.The Listening Room', Biennale of Sydney (1998) was followed by 2 installation works in "Days Like These", The Tate Triennial of Contemporary British Art, Tate Britain 2003 and subsequent installations at ICC Tokyo, Ikon Birmingham and Camden Arts Centre London.Cunningham's response is to alter the sound of an architectural space in real time to allow its resonant frequencies to become audible and interactive.This process is modulated by very slight acoustic changes as people move around the room, by ambient sound, by humidity, by anything that causes air to move.It creates a slowly shifting series of chords always related to a resonant frequency of the location."Following his first album release 'Grey Scale' in 1976 he has worked as a composer and record producer; engaging with a range of people and music, from rock groups (This Heat, Owada) to improvisors (David Toop, and Steve Beresford), to Michael Nyman's music for Peter Greenaway's films, plus work with Ute Lemper and others.Live performance has involved collaboration and performances with John Cage, Kathy Acker, Michael Nyman, Peter Gordon, Panasonic, Michael Giles, Scanner and others.All text is available under the terms of the GNU Free Documentation License.Sunship, but before the life of the new band was really underway, Muir was lured away by a much more enticing opportunity: an invitation by Robert Fripp to join the next incarnation of King Crimson.His unrestrained flow of activity became the focal point of Crimson's 1972 live performances, with both the audience and his fellow musicians never knowing what was going to happen next.Lark's Tongues in Aspic.Following the first of a pair of shows at London's Marquee Club, Muir dropped a gong on his foot; this was presented to his fellow musicians by the band's mangement, EG Records, as the reason for his absence at the next day's performance.In truth, Muir had approached EG with the desire to move on to pursue his spiritual interests, fully intending to explain to his bandmates the motives behind his sudden defection; for reasons that none of the musicians involved understand to this day, EG told Muir that they would talk to the rest of Crimson on his behalf and instead concoted the bogus (and somewhat implausible) story of his injury.The Flying Lizards leader David Cunningham and fellow former Crimson drummer Michael Giles.Do you know something we don't?Peter Giles to become Robert Fripp's partner in obscurity as a member of Giles, Giles and Fripp in 1967.Ian McDonald turning in their notice and recording the much less aggressive McDonald and Giles in 1970.In the 1970s Giles worked as a session player for artists ranging from Steve Winwood and Kevin Ayers to Leo Sayer and Neil Sedaka.His own musical output in subsequent years has been almost nonexistent, the few exceptions being the soundtrack piece Ghost Dance (a collaboration with Jamie Muir and David Cunningham, recorded in 1983 but not released until 1996), and his only solo album Progress (recorded in 1978 but not released until 2003).Do you know something we don't?Jamie Muir was a UK percussionist best known for his work in King Crimson.Major Surgery) and Assagai with Alan
Gowen and others.Muir have since been released by Fripp's DGM records.With King Crimson, Muir occasionally played a standard drum kit, but more often, he
contributed to Crimson's music with an assortment of unusual sounds from a wide variety of percussion instruments,
chimes, bells, thumb piano, mbiras, a musical saw, shakers,
rattles, and miscellaneous drums.Muir also used various found
objects as part of his percussion repertoire.He had just completed his contribution to the aforementioned album, released
subsequent to his departure.The British Press at the time attributed his decision as the result of "personal injury sustained
onstage during performance", (a phrase attributed to the band's management company, E'G).In 1980, Muir returned to the London music scene,
recording with Evan Parker and Derek Bailey.Muir has since withdrawn completely from the music business and now devotes his energies to painting.Library
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More...Post a question or answer questions about "Jamie Muir" at WikiAnswers.This article is licensed under the GNU Free Documentation License.It uses material from the Wikipedia article "Jamie Muir".More InfoAdd Answers to the IE7 Toolbar Search Box!Is john muir related to the muir in toronto canada who wrote the maple leaf forever?What were the contributions of John Muir?Mentioned In:The Beat Club, BremenLive in GuildfordLive at the Zoom ClubJ.Do you have the answers?How do you link to your ebay site?Approximately how many forest arson related deaths occur annually in animals and plants?The Listening Room', Biennale of Sydney (1998) was followed by installation works in The Tate Triennial of Contemporary British Art, Tate Britain 2003 and subsequent installations at ICC Tokyo, Ikon Birmingham, Camden Arts Centre London and Carter Presents London.David Cunningham lives and works in London.His work has ranged from pop music to gallery installations, including work for television, film, contemporary dance, and a number of collaborations with visual artists.Since his first album release 'Grey Scale' in 1976 he has worked as a composer and record producer, engaging with an eclectic range of people and music, from pop groups (This Heat, Owada) to improvisors (David Toop, Steve Beresford) to Michael Nyman's music for Peter Greenaway's films and work with Ute Lemper and others.Live work has involved collaboration and performances with John Cage, Kathy Acker, Michael Nyman, Yasuaki Shimizu, Peter Gordon, John Greaves, Panasonic, Scanner, Apache 61 and others.Music for film and television has included Ken McMullen's films 'Zina' and (in collaboration with Michael Giles and Jamie Muir) 'Ghost Dance', and a series of television collaborations with visual artists which has included John Latham, David Hall, Stephen Partridge, Bruce McLean.David Cunningham is Senior Research Fellow at London College of Communication, University of the Arts, London. |
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