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One of the aspects rendering the sax an often weak point in much progressive rock, is that the instrument - when used fully and not just to timbre out the odd harmonic layer - has to be played with a sense of convincing intensity. Way better players like Elton Dean, Brian Smith, Geoff Leigh, Didiere Malherbe, Gary Windo, Yoch'ko Seffer, Vratislav Brabenec, Roland Schaeffer and Klaus Doldinger were all "jazzheads" with shorter or longer offroads into rock, but I personally think higher even of players like John Earle (Gnidrolog and Nine Days' Wonder) and David Jackson (VdGG and The Long Hello) than I do of the two musicians in question here.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
I suppose it's odd coming from a guy who reviews a lot of jazz, but I don't really give a hoot if Collins or McDonald are credible jazzers. What they brought, specifically to Crimson but in the case of Collins other groups as well, is plenty good enough on their own. If em could play jazz it would just mean they're even broader, which can' the anything but a good thing, but if they can't, I don't think it's a sign of weakness, it's just a sign of choice.
But I suspect Collins would have an easier time playing through standards than McDonald....that said, as below, McDonald on flute was, at the time, a serious force with which to he reckoned.
I can’t even bring Collins’ playing to mind in KC. I barely even remember he was a member.
I was listening to Camel’s Breathless yesterday and couldn’t help but notice that Collins plays the soprano sax like an oboe. Make of that what you will. For the title song, at least, it works.
Confirmed Bachelors: the dramedy hit of 1883...
I agree to some degree; in fact I think he pretty much singlehandedly *ALMOST* rescues Earthbound on that strength. And his playing on a tune like "The Letters" is exactly what the song requires and then more. The free-blowing sax inputs on "Starless", however - appear superfluous and somewhat contrived to my ears. Jaxon was at his best in pieces like "White Hammer" and "Plague...", IMO. But there were still unlikely distances from these folks and up to someone like Elton Dean or Geoff Leigh.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
From 1971-1972, it is arguable that Crimson live was first and foremost about the boy wonder that was Mel Collins.
The man blew his horn with intensity of a volcano.
Really surprised by a few of the comments here.
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
I think Collins had the talent to go on and develop into really great player,but he ended up becoming a bit of a smoothed-edges go through the motions hired hand instead.
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