King Crimson - 1975 [1990] "A Young Person's Guide to King Crimson"

A Young Person's Guide to King Crimson is a 2-LP compilation album by English progressive rock band King Crimson, released in 1976. At the time of release, the band had been disbanded for nearly two years. Guitarist Robert Fripp selected the tracks for inclusion.

Its name is most likely derived either from the famous orchestral work The Young Person's Guide to the Orchestra by composer Benjamin Britten or the 1960s television series Young Person's Guide to the Orchestra, created by conductor/composer Leonard Bernstein.

The gatefold sleeve featured artwork by Scottish artist Fergus Hall, with the front cover being The Landscape Player and the back cover being Earth. Included as part of the package was a booklet, replete with photographs, and detailing gig history and notable events; this was compiled by Robert Fripp from his own archive. The only studio album not represented is Lizard (1970).

To date, its sole CD release has been in Japan, in 1990. This 2-CD set, which faithfully duplicated the vinyl running order, included a reproduction of the booklet, scaled-down. Playing times are approximately 40 minutes long for CD1 and 35 minutes for CD2.

For almost two decades before King Crimson's catalog became a minefield of odd retrospectives, live oddities, and archival treasure troves, A Young Person's Guide to King Crimson was the only worthwhile retrospective the band had ever had -- or seemed likely to receive. Originally released in 1976 following the band's apparently irrevocable split of the year before, this Robert Fripp-compiled double album rounded up an excellent, if somewhat idiosyncratic, survey of the group's seven years together, its contents ranging from the unimpeachable classics to unimaginable rarities -- the pre-Crimson demo of "I Talk to the Wind" was a collector's dream at the time, while the presence of "Groon" took the heat off anyone who missed out on its sole previous appearance, as the B-side of 1970's "Cat Food" single. Of the other tracks, three-fifths of the debut album included the anthemic poles of "21st Century Schizoid Man" and "Epitaph," and served to remind just how powerful In the Court of the Crimson King was on release, while more recent highlights included both "Red" and "Starless" from the band's final album (Red), Starless and Bible Black's eternally atmospheric "The Night Watch," and, as if to prove that the band's sense of humor was never far from the surface, the ribald saga of "Ladies of the Road." A vast booklet of facts and figures, again compiled by Fripp and drawing from his own squirrel-like horde of King Crimson memorabilia, rounded off the package. It's a sign of just how well conceived this collection was that, no matter how many more so-called "best-ofs" the band has endured, A Young Person's Guide remains the definitive study of the original King Crimson.

Track listing:

CD 1

Epitaph (8:52)

March For No Reason

Tomorrow And Tomorrow

Cadence & Cascade 3:36

Ladies Of The Road 5:27

I Talk To The Wind (Previously Unreleased Version) 3:15

Red 6:18

Starless 12:17

CD 2

The Night Watch 4:38

Book Of Saturday 2:52

Peace - A Theme 1:14

Cat Food 2:43

Groon 3:30

Coda From Larks' Tongues In Aspic, Part I 2:09

Moonchild (2:24)

The Dream

The Illusion

Trio 5:36

In The Court Of The Crimson King (9:21)

The Return Of The Fire Witch

The Dance Of The Puppets

Personnel:

- Bill Bruford / drums, percussion (5, 6, 7, 12 & 14)

- Boz Burrell / bass, vocals (3)

- Mel Collins / saxes, flute (2, 3 & 6)

- David Cross / violin (7, 8 & 14) viola & voice (12)

- Judy Dyble / vocals (4)

- Robert Fripp / guitars, mellotron, devices (all)

- Michael Giles / drums, percussion, backing vocals (1, 2, 4, 10, 11, 13 & 15)

- Peter Giles / bass (4, 10 & 11)

- Gordon Haskell / vocals (2)

- Greg Lake / bass, vocals (1, 10, 13 & 15)

- Ian McDonald / woodwinds, reeds, keyboards, mellotron, vocals (1, 4, 6, 13 & 15)

- Robin Miller / oboe (6)

- Jamie Muir / percussion, voice (12)

- Peter Sinfield / words (1, 2 & 15)

- Keith Tippett / piano (2 & 10)

- Ian Wallace / drums (3)

- John Wetton / bass, vocals (5, 6, 7, 8, 12 & 14)

Wayne Shorter - 1974 [2023] "Moto Grosso Feio"

Moto Grosso Feio is the thirteenth album by Wayne Shorter, recorded in 1970 but not released on the Blue Note label until 1974. The album features four originals by Shorter and an arrangement of "Vera Cruz" by Milton Nascimento. Some of the musicians include guitarist John McLaughlin, bassist/cellist Ron Carter, bassist Dave Holland, and drummers Jack DeJohnette and Micheline Pelzer.

When delving into the expansive and storied discography of Wayne Shorter, “Moto Grosso Feio,” released in 1974, stands out as one of the most enigmatic entries. Here is an album that, while remaining true to Shorter’s reputation for innovation and exploration, veers off into terrain less traveled, even by his adventurous standards.

From the onset, “Moto Grosso Feio” invites the listener into a universe distinctly different from Shorter’s earlier works. If one were expecting a linear continuation from his previous efforts with Weather Report or even his solo albums of the ’60s, they’d quickly realize this was a departure. This isn’t to suggest a disconnection from his past but rather a bold foray into new realms.

The album’s title track, “Moto Grosso Feio,” which translates from Portuguese as “big ugly motor,” serves as an appropriate metaphor for the music’s engine: gritty, relentless, and evoking imagery of industrial landscapes and mechanized processes. It’s a sprawling epic of a track that unfolds over 12 minutes, where Shorter’s saxophone interplays beautifully with John McLaughlin’s guitar, offering an engaging dialogue between the two. Their instruments, at times, seem to be conversing, arguing, and harmonizing in the same breath.

“Iska” provides a different flavor. It’s a contemplative piece, where the complexity of the arrangements is evident. Shorter’s soprano saxophone soars, delves, and dances, guiding the listener through a labyrinth of sound. There’s a certain spaciousness to this track, a quality that allows for introspection amidst the intricate instrumentation.

“Manhattan Lorelei” is perhaps the most accessible track on the album. Its nod to more traditional jazz structures provides a sense of familiarity, but this isn’t a regression. The song serves as a reminder of Shorter’s roots, his foundational love for jazz, and his ability to interweave conventional and avant-garde elements seamlessly.

The inclusion of Brazilian percussionist Airto Moreira on “Vera Cruz” infuses the track with a rhythmic vivacity that feels both earthy and ethereal. There’s an organic nature to this piece, a raw heartbeat that pulses beneath the surface of Shorter’s melodic explorations. It’s a journey to a different place, perhaps a rainforest or a bustling Brazilian cityscape, showcasing Shorter’s fascination with world music.

Yet, while the album is undeniably innovative, its experimental nature might be a double-edged sword for some. “Moto Grosso Feio” demands attentive listening. It’s not an album of instant gratification but requires patience and immersion. For the uninitiated or those expecting a more conventional jazz experience, it might feel overwhelming or esoteric.

Recorded on the same day as the superior Odyssey of Iska, this loose session (Wayne Shorter's final one for the Blue Note label) is quite unusual. Although Shorter sticks to his customary tenor and soprano, pianist Chick Corea plays marimba, drums, and percussion; bassist Ron Carter mostly performs on cello; electric guitarist John McLaughlin sticks to the 12-string guitar, and bassist Dave Holland also plays acoustic guitar, with drummer Michelin Prell rounding out the group. Not released until 1974, the music is influenced by early fusion and has its interesting moments although it often wanders. The group performs Milton Nascimento's "Vera Cruz" and four of Shorter's originals, of which "Montezuma" is the best-known.

“Moto Grosso Feio” can be seen as a pivotal moment in Wayne Shorter’s illustrious career. It’s a testament to his restless spirit and desire to constantly evolve, to seek out new horizons and challenge both himself and his listeners. While it may not be for everyone, its place in the annals of jazz history is indisputable. For those attuned to its frequency, it’s a profound experience that resonates deeply, long after the final note has been played.

Track listing:

All compositions by Wayne Shorter except where noted.

"Moto Grosso Feio" – 12:30

"Montezuma" – 7:53

"Antigua" – 5:25

"Vera Cruz" (Milton Nascimento) – 5:12

"Iska" – 11:22

Personnel:

Wayne Shorter — soprano saxophone, tenor saxophone

John McLaughlin — 12-string guitar

Chick Corea — marimba, drums, percussion

Ron Carter — bass, cello

Dave Holland — acoustic guitar, bass

Jack DeJohnette — drums, thumb piano

Miroslav Vitouš — bass (uncredited on album cover but mentioned as part of sessions in liner notes)

Micheline Pelzer (credited as Michelin Prell) — drums, percussion