ANDREW KEELING – Prog Goes Classical
2 min read
- How did you start collaborating with the King Crimson?
In 1999 Robert Fripp phoned me asking if ‘I’d come and do something for Discipline Global Mobile. I accepted the invitation. I met Robert many years in 1971 at a King Crimson concert, initially writing to him in 1969 after hearing In the Court of the Crimson King.
- Which was your approach (from an orchestration perspective) to orchestrate Robert Fripp ’s guitar Soundscapes?
I went with my instinct and training and the Holland Festival’s commission requirements.
- How did you approach (from the composer’s perspective) your collaboration with David Cross?
It was an instinctual connection, as well as ‘ear and listening’.
- Do you prefer working as an arranger or as a flautist/guitarist?
Whatever one is asked to do at any one moment in time. It’s all project specificity.
- Would you find similarities between the music of King Crimson and classical music?
Yes.
- There is an ongoing comparison between progressive rock music and classical music, which is your own opinion about this comparison?
Working both as classical, rock and improvising musician there are undoubted overlaps between styles.
- You have authored many books on the music of King Crimson, how did you get this idea and are there any other books in progress?
Robert Fripp asked me to write musical analyses. The Musical Guides were my own concept. Musical Guide to King Crimson’s Red is in progress.
- “October is Marigold” is your latest collaboration with David Cross, which is the concept of the album?
Autumn/October. The time the music was recorded.
- Where and how did you record the album?
In David Cross’ studio in London.
- What about your next plans on music?
I’m currently writing a large-scale chamber piece, practising classical guitar and flute and researching two writing projects.
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