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prefer junk shops to antique shops. There's nothing to find in an antique shop – it's all been found already; whereas in a junk shop it's only been collected. But a rubbish dump – a rubbish dump has been neither found nor collected – in fact it's been completed rejected – the future if only you can see it." He recommended that "nstead of transmuting rubbish into music with a heavily predetermined qualitative bias ... leave behind the biases and structures of selectivity (which is an enormous task), the 'found' attitudes you inherit, and approach the rubbish with a total respect for its nature as rubbish – the undiscovered/unidentified/unclaimed – transmuting that nature into the performing dimension. The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) – which is to give music a future."
188:, Muir wrote "Fripp was open and believed very much in getting disparate musical elements together ... he seemed to me to be a very good band leader. I think I was a wee bit too much for him, simply because I was so involved in improvisation. He was very much concerned with logic and function, he always worked his solos out before playing them ... For a person like him it was a very admirable creative decision to actually work with somebody like me." Muir also recalled: "I always remember I had an urge to get Robert to let his hair down because he was very controlled in the way he played ... I really tried and tried to provoke him." In summing up his experience with the band, Muir stated "King Crimson was the ideal for me ... I was extremely pleased and I felt completely at home with the Crimson."
235:. Muir himself stated "hat was nonsense about my having injured myself ... When I heard about what they'd said, I wondered why would anybody do that – what advantage could there be in not saying what actually happened?" He also stated: "There were experiences over a period of about six months which caused me to decide to give up music, so one morning I felt I had to go to E.G. management and tell them. It was difficult of course, a whole year of tours had just been lined up ... I didn't feel too happy about letting people down, but this was something I had to do or else it would have been a source of deep regret for the rest of my life."
184:". Bruford called Muir "my biggest influence and the guy who turned my head totally around ... God, did he open my eyes. Jamie saw above and beyond chops. He was into the color of the music, the tone, and being intuitive about it." Bruford also wrote that Muir taught him to "try to see life from the far side of the cymbals: drummers can be very myopic. He also pointed out – and I consider this my first and best drum lesson – that I exist to serve the music, the music does not exist to serve me." Regarding his relationship with
209:. Anderson recalled: "He was an unbelievable stage performer ... I wanted to know what made him do that, what had influenced him. He said to me, 'Here, read it,' and it started me off on the path of becoming aware that there was even a path ... Jamie was like a messenger for me and came to me at the perfect time in my life ... he changed my life." Anderson's fascination with the book soon led to the creation of the Yes album
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150:, with a lineup that came to be, according to Muir, focused on "group potential and creating monstrous power in music." During his tenure with the band, Muir occasionally played a standard drum kit, but more often he contributed an assortment of unusual sounds from a wide variety of percussion instruments, including
80:. Regarding his musical direction at the time, he stated: "I just had to improvise. The first time it felt really dangerous, like the sort of thing you had to lock the doors and close the curtains on because if anybody saw you, God would strike you down with a thunderbolt. But I took to it like a duck to water."
107:
as part of his percussion repertoire. Bailey enjoyed playing with Muir, recalling that he "seemed to be able to provide a different playing experience every time ... He fitted into this idea of having no particular preconceptions ... He was a highly reactive person, one of the things I really liked,
296:
Muir has stated: "I think group improvised music is one of the great forms of 20th
Century music because it's so radical. It should be listened to live and not in an acute intellectual way. A lot of other music is quite absurdly intellectual." Regarding his approach to percussion, he said: "I much
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According to John Kelman, Muir "brought not just a visual 'X factor' to the group but a musical one as well, his not-to-be understated contributions during his brief tenure with
Crimson still felt well after his departure, with the percussionist exerting a lasting influence on (drummer Bill)
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in southern
Scotland in order to pursue a monastic lifestyle in accordance with the strict principles of Buddhism. The British Press at the time cited his departure as the result of "personal injury sustained onstage during performance", a phrase attributed to the band's management company,
168:(the title of which was coined by Muir; when asked by Fripp what the music sounded like, Muir responded "why, larks' tongues in aspic ... what else?"), on which he is listed as playing "Percussion and Allsorts." Several live recordings featuring Muir were released later by
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during the 1960s, and began playing jazz on trombone. He soon lost interest and switched to percussion, stating that he preferred to be "in the wilds of uncertainty." At that time, he listened to
American jazz drummers such as
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released in 2012 for the 40th anniversary of the album includes every recording from that line-up, both live or studio, documenting everything Muir has ever contributed.
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recorded in 1983, and eventually released in 1996. Muir reported that he withdrew from the music business around 1990, to devote his energies to painting.
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and Jimmy Roche (both later of jazz-rock band Major
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In early March 1973, Muir attended
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33:) is a Scottish painter and former musician, best known for his work as the percussionist in
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131:. Muir and Gowen subsequently formed the experimental jazz-rock band Sunship with guitarist
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This article is about the
Scottish percussionist. For the Nova Scotian politician, see
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there was the impression that he was slightly uncontrollable, on an edge."
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2002:
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705:"King Crimson: Larks' Tongues in Aspic [Limited Edition Box Set]"
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Bill
Bruford: The Autobiography. Yes, King Crimson, Earthworks and More
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146:, and was invited to join what was to become a new incarnation of
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In 1980, Muir returned to the London music scene, recording with
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The 21st
Century Guide to King Crimson Volume Two: 1981–2003
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The 21st
Century Guide to King Crimson Volume One: 1969–1974
1621:
The Deception of the Thrush: A Beginners' Guide to ProjeKcts
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The Condensed 21st Century Guide to King Crimson: 1969–2003
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from 1968–1971. During this time, Muir began using various
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from 1972–1973, appearing prominently on their fifth album
826:"ghost dance -michael giles, jamie muir, david cunningham"
801:"Yes: The Real Story Behind Tales From Topographic Oceans"
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The Show That Never Ends: The Rise and Fall of Prog Rock
280:, a collaboration with another Crimson alumnus, drummer
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during which he strongly recommended that Anderson read
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A Beginners' Guide to the King Crimson Collectors' Club
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After moving to London, Muir worked with choreographer
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Cirkus: The Young Persons' Guide to King Crimson Live
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In the Court of the Crimson King: King Crimson at 50
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1385:Music Is Our Friend: Live in Washington and Albany
274:). He also appeared on the soundtrack of the film
142:In the summer of 1972, Muir received a call from
1357:Radical Action to Unseat the Hold of Monkey Mind
668:Larks' Tongues in Aspic 30th Anniversary Edition
606:Derek Bailey and the Story of Free Improvisation
851:Improvisation: Its nature and practice in music
688:: CS1 maint: others in cite AV media (notes) (
222:, Muir abruptly left King Crimson and moved to
115:disbanded, Muir played in the band Boris with
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332:, 1970) with Christine Jeffrey on two tracks.
8:
583:"The Talking Drum – A Jamie Muir Interview"
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1600:Frame by Frame: The Essential King Crimson
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218:A little over a week after the release of
1211:Happy with What You Have to Be Happy With
540:"Jamie Muir enters the stroll syndrome".
337:The Music Improvisation Company 1968–1971
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628:"Larks Tongues In Aspic – The Long View"
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1579:A Young Person's Guide to King Crimson
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371:Larks' Tongues in Aspic (box set)
91:, recording, and performing with
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1681:In the Court of the Crimson King
1067:In the Court of the Crimson King
758:Shore, Michael (February 1979).
2096:Avant-garde jazz percussionists
1993:Bruford Levin Upper Extremities
1285:Absent Lovers: Live in Montreal
400:, 1981; reissued on CD in 1994)
325:The Music Improvisation Company
113:The Music Improvisation Company
101:The Music Improvisation Company
799:Smith, Sid (2 November 2016).
788:. Foruli Classics. p. 61.
732:Kelman, John (19 April 2019).
626:Smith, Sid (3 November 2016).
68:, and other musicians such as
1:
1755:The Court of the Crimson King
1635:The Power to Believe Tour Box
1536:The Champaign–Urbana Sessions
1466:Live At Moles Club, Bath 1981
1378:Meltdown: Live in Mexico City
212:Tales From Topographic Oceans
1737:The Complete 1969 Recordings
1663:The Elements of King Crimson
2141:British male jazz musicians
2172:
2018:21st Century Schizoid Band
1983:Emerson, Lake & Palmer
1487:Live at Plymouth Guildhall
1144:The Construkction of Light
855:. Da Capo Press. pp.
608:. Verso. pp. 652–653.
29:(born 30 November 1942 in
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1826:Sex Sleep Eat Drink Dream
1773:21st Century Schizoid Man
1459:Live in Central Park, NYC
1257:B'Boom: Live in Argentina
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2136:Musicians from Edinburgh
1945:Discipline Global Mobile
1586:The Compact King Crimson
1102:Starless and Bible Black
585:. Elephant Talk. 1991–92
53:Edinburgh College of Art
2116:Scottish percussionists
1865:Larks' Tongues in Aspic
1805:Three of a Perfect Pair
1688:Larks' Tongues in Aspic
1508:Live in Northampton, MA
1336:EleKtrik: Live in Japan
1130:Three of a Perfect Pair
1095:Larks' Tongues in Aspic
1074:In the Wake of Poseidon
359:Larks' Tongues in Aspic
206:Autobiography of a Yogi
165:Larks' Tongues In Aspic
40:Larks' Tongues In Aspic
21:Jamie Muir (politician)
1966:Giles, Giles and Fripp
1557:Rehearsals & Blows
1452:Live at Summit Studios
1186:A Scarcity of Miracles
847:Bailey, Derek (1992).
784:Bruford, Bill (2013).
652:Weigel, David (2017).
2156:Incus Records artists
2111:British male drummers
1716:On (and off) The Road
1529:Live at the Zoom Club
1438:Live in San Francisco
1417:The Beat Club, Bremen
1306:Live at the Jazz Café
201:Paramahansa Yogananda
2121:Converts to Buddhism
2091:King Crimson members
1904:Neal and Jack and Me
1501:Live in Berkeley, CA
1480:Nashville Rehearsals
1410:Live at Jacksonville
1151:The Power to Believe
604:Watson, Ben (2004).
224:Samye Ling Monastery
87:, and was active in
78:New York Art Quartet
1515:Live in Detroit, MI
1445:The Vrooom Sessions
1403:Live at the Marquee
1343:Live at the Orpheum
1315:Heavy ConstruKction
1292:Live in Mexico City
703:Westergaard, Sean.
684:cite AV media notes
544:(10/11): 23. 1992.
435:and The Engine Room
2126:Scottish Buddhists
2086:Free improvisation
1977:McDonald and Giles
1844:I Talk to the Wind
1730:Heaven & Earth
1550:Live in Austin, TX
1424:Live at Cap D'Agde
1329:Ladies of the Road
1250:The Great Deceiver
510:Laurie Scott Baker
443:(Percussion, 1984)
89:free improvisation
51:Muir attended the
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1791:Thela Hun Ginjeet
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1522:Live in Nashville
1473:Live in Hyde Park
764:ModernDrummer.com
292:Ideas about music
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419:The Ayes Have It
286:David Cunningham
255:The Ayes Have It
154:, bells, gongs,
135:and bass player
133:Allan Holdsworth
127:keyboard player
125:Canterbury scene
123:in which he met
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501:Honest Jon's
497:Company 1983
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487:Company 1981
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62:Kenny Clarke
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2076:1943 births
1935:Discography
1897:Déjà Vrooom
1836:Other songs
1431:On Broadway
1221:Live albums
1030:David Cross
1025:John Wetton
1015:Ian Wallace
1010:Boz Burrell
995:Peter Giles
927:Mel Collins
714:27 February
632:DGMLive.com
461:Ghost Dance
411:Paul Rogers
407:Evan Parker
344:, 1968–70 )
316:Hugh Davies
312:Evan Parker
301:Discography
277:Ghost Dance
228:Eskdalemuir
160:musical saw
97:Evan Parker
2070:Categories
1264:Thrakattak
1236:Earthbound
1116:Discipline
1035:Jamie Muir
934:Tony Levin
542:Rubberneck
524:References
441:Going Gone
195:'s singer
129:Alan Gowen
117:Don Weller
76:, and the
27:Jamie Muir
2033:The Vicar
2008:Stick Men
1851:Moonchild
1812:Sleepless
1798:Heartbeat
1162:ProjeKcts
1045:Trey Gunn
980:Greg Lake
550:0952-6609
517:Gracility
468:With the
393:Dart Drug
245:Dart Drug
47:Biography
31:Edinburgh
2055:Category
2003:HoBoLeMa
1928:Articles
1879:Starless
1762:Cat Food
1702:Starless
709:AllMusic
426:, 1983 )
1940:Members
1921:Related
1858:Islands
1769:Epitaph
1747:Singles
1271:Epitaph
1088:Islands
832:10 June
589:10 June
503:, 2020)
493:, 2019)
483:, 1986)
470:Company
378:, 2012)
366:, 1973)
260:Company
258:), and
182:Bruford
121:Assagai
1889:Videos
1819:People
1204:Vrooom
1164:albums
1081:Lizard
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810:3 June
769:3 June
743:3 June
637:3 June
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424:Emanem
364:Island
270:, and
250:Parker
240:Bailey
156:mbiras
152:chimes
111:After
64:, and
1998:Tuner
1959:Bands
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477:Trios
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264:Trios
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861:ISBN
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812:2020
771:2020
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716:2022
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546:ISSN
452:and
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