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William James Graham Muir (4 July 1945 – 17 February 2025) was a Scottish painter and musician, best known for his work as the percussionist in King Crimson from 1972 to 1973, appearing prominently on their fifth album Larks' Tongues in Aspic. Following his departure from King Crimson, Muir relocated to Scotland, where he pursued a monastic Buddhist lifestyle at Samye Ling Monastery. He returned to music in 1980, later contributing percussion to studio albums from Derek Bailey, Evan Parker, and Michael Giles, the latter of whom was a founding member of King Crimson. By 1990, Muir had permanently retired from music and focused his efforts on painting.

Key Information

Life and career

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Early life and career

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William James Graham Muir was born in Edinburgh, Scotland, on 4 July 1945.[1][2] He attended the Edinburgh College of Art during the 1960s, and began playing jazz on trombone.[3] He soon lost interest and switched to percussion, stating that he preferred to be "in the wilds of uncertainty".[4] At that time, he listened to American jazz drummers such as Tony Williams, Kenny Clarke, and Milford Graves, and other musicians such as Pharoah Sanders, Albert Ayler, and the New York Art Quartet.[4] 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."[4]

After moving to London, Muir worked with choreographer Lindsay Kemp,[3] and was active in free improvisation, recording, and performing with Derek Bailey and Evan Parker in The Music Improvisation Company from 1968 to 1971. During this time, Muir began using various found objects 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, there was the impression that he was slightly uncontrollable, on an edge."[5]

After The Music Improvisation Company disbanded, Muir played in the band Boris with Don Weller and Jimmy Roche (both later of jazz-rock band Major Surgery) and put in a stint with Afro-rock band Assagai in which he met Canterbury scene keyboard player Alan Gowen. Muir and Gowen subsequently formed the experimental jazz-rock band Sunship with guitarist Allan Holdsworth and bass player Laurie Baker, although Muir has admitted that they "spent more time laughing than playing music" and suggests that the band played no gigs and got no further than rehearsals.[4]

King Crimson

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In the summer of 1972, Muir received a call from Robert Fripp, and was invited to join what was to become a new incarnation of King Crimson,[6] with a lineup that came to be, according to Muir, focused on "group potential and creating monstrous power in music."[4] 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 chimes, bells, gongs, mbiras, a musical saw, shakers, rattles, found objects, and miscellaneous drums. Muir initially appeared on a single King Crimson album, 1973's Larks' Tongues in Aspic (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?"),[7] on which he is listed as playing "Percussion and Allsorts".[8] Several live recordings featuring Muir were released later by DGM records; the 15-disc box set 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.[9]

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) Bruford".[10] 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."[11] 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."[12] Regarding his relationship with Robert Fripp, 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."[4] 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."[6] 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."[6]

In early March 1973, Muir attended Bruford's wedding reception, and had a long conversation with Yes's singer Jon Anderson during which he strongly recommended that Anderson read Paramahansa Yogananda's Autobiography of a Yogi. 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 Tales From Topographic Oceans.[13]

A little over a week after the release of Larks' Tongues, Muir abruptly left King Crimson. 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, E.G. Records. Muir himself stated "[t]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?"[6] 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."[4]

Post-King Crimson

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Muir left King Crimson and moved to Samye Ling Monastery near Eskdalemuir in southern Scotland in order to pursue a monastic lifestyle in accordance with the strict principles of Buddhism.[10][4]

In 1980, Muir returned to the London music scene, recording with Bailey (Dart Drug), Parker (The Ayes Have It), and Company (Trios, Company 1981, and Company 1983). He also appeared on the soundtrack of the film Ghost Dance, a collaboration with another Crimson alumnus, drummer Michael Giles and David Cunningham recorded in 1983, and eventually released in 1996.[14] Muir reported that he withdrew from the music business around 1990, to devote his energies to painting.[4]

Muir died in Cornwall, England, on 17 February 2025, at the age of 79.[1][15][16]

Ideas about music

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Muir 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."[4] Regarding his approach to percussion, he said: "I much 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 "[i]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."[17]

Discography

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With the Music Improvisation Company (Derek Bailey, Evan Parker and Hugh Davies)

With King Crimson

With Derek Bailey

With Evan Parker and Paul Rogers

With Richard Strange and The Engine Room

  • Going Gone (Percussion, 1984)[21]

With Michael Giles and David Cunningham

With the Company

With Laurie Scott Baker

  • Gracility (Musicnow, 2009)[25]

References

[edit]
[edit]
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Jamie Muir

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Jamie Muir (4 July 1945 – 17 February 2025) was a Scottish percussionist, improviser, painter, and Buddhist monk, renowned for his innovative contributions to and as a member of the band . Born in to a solicitor father and educated at school and the , Muir initially pursued visual arts before immersing himself in music during the jazz scene. He began as a trombonist, drawing inspiration from pioneers like and , and soon shifted to percussion, co-founding the experimental Music Improvisation Company in 1970 with guitarist Derek Bailey and saxophonist Evan Parker. His early collaborations included stints with Pete Brown's Battered Ornaments, the African-influenced group Assagai, and the avant-garde ensemble Sunship, where he explored unconventional sounds using scrap metal, chains, and vocal effects. Muir's most prominent musical role came in late 1972 when he joined , recruited by guitarist for his anarchic improvisational style that aligned with the band's evolving experimental direction. Over five months, he contributed to the recording of the seminal album (1973), infusing tracks like "Fracture" and "Exiles" with subtle textures and chaotic energy that expanded the boundaries of rock percussion. His influence extended to contemporaries; drummer cited Muir as his "biggest influence," while Yes frontman drew spiritual inspiration from Muir's gift of the book , shaping the thematic depth of Yes's (1973). Muir abruptly left in early 1973 following a spiritual epiphany during a performance, reportedly feeling a divine pull toward deeper contemplation. In the mid-1970s, Muir retreated from the music world to become a Buddhist monk at the Samye Ling monastery in Scotland, spending years in meditation and study; he later traveled to France and India for further spiritual pursuits. He briefly reemerged in the 1980s for select collaborations, including the album Dart Drug (1981) with Derek Bailey and the soundtrack for the film Ghost Dance (1983). By the 1990s, Muir had fully shifted to painting, developing a hyper-realist style that incorporated innovative techniques and themes drawn from his Buddhist practice; he resided in Penzance, Cornwall, for the last two decades of his life. Survived by his brother George and sister Mary, Muir's legacy endures as a bridge between rock innovation, free improvisation, and spiritual artistry.

Life and career

Early life and education

William James Graham Muir was born on 4 July 1945 in , , to William Gray Muir, a solicitor, and Elizabeth (née Montgomery), who volunteered at a women's refuge. He was one of four children, including siblings George, Mary, and Andrew, the latter of whom predeceased him. Muir grew up in , where he developed an early interest in , influenced by avant-garde artists such as and . His initial musical explorations involved playing the in jazz bands and the string bass, though the latter's career was cut short when the instrument fell from a five-story building. He briefly studied and in school but found limited appeal in their repertoires. Muir attended public school before enrolling at the in the 1960s, where he pursued studies in and . It was during this time that he began integrating into his artistic practice, experimenting alongside his visual work, though he eventually dropped out. Driven by broader artistic ambitions, including explorations in lightshows and , he moved to around 1965–1966.

Early musical career

In the late , Jamie Muir transitioned from playing to percussion, inspired by the movement and drummers such as Tony Williams and Kenny Clarke. This shift occurred around 1967 after he dropped out of art college, leading him to join the free-jazz ensemble Assassination Weapon, where the group performed in a accompanied by a light show, though their gigs were short-lived due to creating an overly intense atmosphere. Upon moving to , Muir collaborated with choreographer and Lindsay Kemp's troupe, integrating his percussion into theatrical performances during a residency in the mid-1960s. This work exposed him to interdisciplinary art, blending with visual and movement elements in an improvisational context. From 1968 to 1971, Muir co-founded The Improvisation Company with guitarist Derek Bailey, saxophonist Evan Parker, and later electronics musician Hugh Davies, emphasizing spontaneous collective improvisation without preconceived structures. The group released their debut , The Music Improvisation Company, on in 1970, featuring live electronics and vocal contributions from Christine Jeffrey, followed by live recordings compiled as 1968-1971 on Records in 1971. Their performances highlighted pointillistic textures and rapid interplay, pushing the boundaries of in the scene. During this period, Muir began experimenting with found objects as percussion instruments, incorporating items like steel chains, pistachio shells, and bird whistles to expand his sonic palette beyond conventional drums. These unconventional elements added theatrical and textural depth to his improvisations, reflecting his interest in natural and industrial sounds.

Time with King Crimson

In the summer of 1972, recruited Jamie Muir to join the newly formed lineup of following a recommendation from journalist Richard Williams and informal jamming sessions where Fripp was impressed by Muir's improvisational approach. Muir, who had been active in improvisation circles, brought a unique percussive intensity to the band, complementing drummer Bill Bruford's more structured style with chaotic, textural elements. His addition helped shape the quintet's experimental sound, blending rock with and . As the band's percussionist, Muir played a key role in the recording of Larks' Tongues in Aspic (1973), contributing to its raw, eclectic texture through unconventional instruments including chimes, gongs, toys, pistachio shells, duck calls, baking trays, and aerophones alongside standard drums and cymbals. On tracks like "Exiles," he provided tape-manipulated sounds and atmospheric drones using rubbed glass tubes and metal objects to evoke ethereal, displacing effects in the introduction. Similarly, in "Fracture," his layered percussion added dynamic tension and industrial clatter, enhancing the instrumental's aggressive, fracturing rhythm. Muir also suggested the album's title, "Larks' Tongues in Aspic," as a metaphor for the band's disparate yet cohesive musical elements. King Crimson's live performances from late 1972 to early 1973 showcased Muir's innovative approach, with the band completing a 27-date UK tour in November and December 1972, debuting material on German television's Beat Club and often closing sets with an encore of "21st Century Schizoid Man." On stage, Muir occupied a central position amid multiple percussion arrays scattered across the platform, allowing him to roam frenetically—often clad in a fur jacket like a shaman—while deploying chains, theatrical capsules for dramatic effects like simulated blood-spitting, and an array of found objects to create immersive, anarchic soundscapes. This setup amplified the band's intensity, though Muir later noted challenges with equipment handling by roadies and poor audibility of his subtler percussive details in loud rock venues. Muir's tenure ended abruptly in early 1973, shortly after the album's completion and amid preparations for further touring, when he left the band due to a profound spiritual calling inspired by his growing interest in rather than any musical discord.

Spiritual retreat

Following his abrupt departure from King Crimson in early 1973, Jamie Muir entered the Samye Ling Monastery in Eskdalemuir, , as a novice monk under the guidance of Akong Rinpoche, the abbot and co-founder of the Tibetan Buddhist center. Muir committed to a seven-year period of monastic life from 1973 to 1980, during which he immersed himself in intensive practices, the study of Tibetan Buddhist teachings, and a complete of his former secular existence, including the music industry. This retreat marked a profound shift, as Muir later reflected on experiences that compelled him to prioritize spiritual discipline over external pursuits. The monastic immersion deeply influenced Muir's worldview, leading him to reject ego-driven in favor of inner exploration and selflessness, principles central to . Following his time at the , he traveled to France and for further spiritual pursuits. Around 1980, he gradually transitioned back to lay life, though he maintained Buddhist practices as a lifelong commitment, integrating them into his subsequent creative endeavors.

Return to music and collaborations

After emerging from his spiritual retreat in a Buddhist around 1980, Jamie Muir re-engaged with the improvised music scene, marking his first post-withdrawal recordings that year. His initial collaboration was the duo Dart Drug with guitarist Derek Bailey, recorded in August 1981 at Crane Grove in and emphasizing unscripted, textural interplay between Bailey's prepared guitar and Muir's unconventional percussion, including gongs and small instruments. Released on Bailey's label, the captured Muir's evolved approach to sound, influenced by meditative practices that informed his sparse, resonant contributions. Muir's return extended to key partnerships in throughout the mid-1980s. In December 1983, he joined saxophonist Evan Parker and bassist Paul Rogers for a studio session in , resulting in the four extended tracks that formed the core of The Ayes Have It, later released in 2001 on Emanem Records; these pieces highlighted Muir's use of toys and subtle percussion to create dynamic, responsive textures alongside Parker's techniques on and saxophones. That same year, from May 3 to 6, Muir collaborated with former drummer and composer David Cunningham on the soundtrack for Ken McMullen's Ghost Dance, blending acoustic percussion, mouth sounds, and electronic elements in a series of improvised cues that evoked ritualistic atmospheres without adhering to traditional rhythmic structures. These works underscored Muir's commitment to collective spontaneity, eschewing fixed compositions in favor of momentary sonic explorations. Throughout the late 1980s, Muir made sporadic appearances in the UK's circuit, participating in informal sessions and events that avoided commercial frameworks, often alongside figures from the London Musicians Collective. His involvement remained low-key, prioritizing intimate, non-hierarchical interactions over widespread performance schedules. By around 1990, Muir retired from music entirely to focus on , with no significant releases following his mid-1980s efforts.

Later years and visual arts

Following his retirement from music around 1990, Jamie Muir dedicated himself primarily to , with becoming the central focus of his creative life. He produced hyper-realist works, including detailed drawings, often employing techniques such as frottage—rubbing textures from natural objects like leaves onto paper or canvas to evoke organic forms. These methods mirrored elements of his earlier percussive experimentation through an emphasis on found-object , integrating everyday materials into his compositions. Muir's artwork was deeply influenced by his experiences in , acquired during his time as a monk at Samye Ling monastery in , as well as by observations of nature. Recurring themes included impermanence and ; for instance, he frequently crumpled or destroyed completed pieces to symbolize transience, aligning his practice with Buddhist principles of non-attachment. In his later decades, Muir maintained a private artistic practice, showing little interest in public exhibitions and instead sharing his work selectively in private settings. He resided near in , , where he operated a studio that allowed him to balance intensive sessions with ongoing retreats. This secluded environment in Cornwall's coastal landscape further informed his nature-inspired themes, fostering a contemplative approach that defined his post-musical output.

Death

Jamie Muir died on 17 February 2025 in , , at the age of 79, with his brother George by his side. The cause of death was not publicly specified, though he had been in poor health for some time. Obituaries in and The Telegraph, both published on 26 February 2025, praised Muir's innovative percussion techniques and the spiritual depth that infused his musical and artistic contributions. Tributes from former bandmates and , along with other affiliates, emphasized Muir's enigmatic and profoundly influential presence in the music world. Fripp described him as a "wonderful and mysterious person" whose ideas remained a "major, and continuing, influence" on his own work. Bruford recalled how Muir "turned my head totally around," teaching him to prioritize serving the music above all else. No formal details about a or service were released to the public. Muir's legacy endures through the archives of (DGM), King Crimson's management and label.

Musical ideas and philosophy

Views on

Jamie Muir regarded group as a radical innovation in , emphasizing its spontaneous, live essence over composed forms. In a reflecting on his earlier work, he described it as "one of the great forms of 20th Century music because it’s so radical," best experienced in performance rather than through detached analysis. This approach celebrated the unpredictability and immediacy of collective sound-making, allowing to unfold organically without predetermined structures. Muir criticized over-intellectualized music-making, viewing it as an obstacle to genuine , and instead championed intuitive, unselfconscious expression. He dismissed complex harmonic systems as "intellectual masochism" that impeded the flow of ideas, urging performers to draw from their inner resources with unwavering trust. As he explained, "You’ve got to be yourself, with complete and ; have in your own source of and husband that." This promoted an ego-dissolved state of creation, where personal agendas yielded to the music's emergent power. Central to Muir's vision was the communal dimension of improvisation, fostering egalitarian collaboration among participants. He co-founded the Music Improvisation Company in 1968 with Derek Bailey, Evan Parker, and Hugh Davies to explore this dynamic, prioritizing shared invention over individual dominance. In discussing such groups, Muir stressed their capacity for "group potential and creating monstrous power in music," where hierarchy dissolved into collective sonic exploration. In 1970s and 1980s reflections, Muir rejected rock music's commercial imperatives, advocating instead for uncompromised sonic inquiry through . Returning from his spiritual retreat in the early 1980s, he found the industry rife with "aggressive, strident (party-oriented) politics" that had corrupted artistic purity, likening it to "a pit of snakes." He lamented how some improvisers had turned the form into a vehicle for and posturing, stripping it of vitality in favor of market-driven agendas. These views underscored his commitment to as a liberating, non-commercial practice.

Approach to instrumentation

Jamie Muir's approach to percussion emphasized the integration of unconventional and everyday materials to generate unpredictable, textural sounds, diverging from standard drum kits to foster spontaneity in performance. He favored found objects such as kitchen utensils, toys, industrial items like sheet metal and baking trays, pistachio shells, dried leaves, bleach bottles, suitcases, and newspapers, which he incorporated alongside traditional elements to evade the "preconceived sounds" associated with conventional drums. This preference stemmed from his philosophy of treating such objects as "rubbish" without bias, allowing their inherent qualities to reveal novel sonic possibilities during improvisation, as articulated in his 1972 interview reprinted in Derek Bailey's 1980 book on the subject. On stage, Muir arranged multiple percussion stations to facilitate fluid movement and layered textures, positioning arrays of chimes, bells, gongs, mbiras (thumb pianos), shakers, rattles, and a around a central enhanced with these found elements. This setup enabled him to dart between stations, creating a shamanistic presence that amplified the visual and auditory dynamics of live shows, particularly during his tenure with in 1972–1973. Examples from recordings include the sloshing of hands in a bucket of mud for the opening of "Easy Money" and the screech of vintage bicycle horns in "The ," demonstrating how these stations contributed to dense, atmospheric percussion beds. Muir's methods exerted a lasting influence on progressive rock percussion, notably inspiring Bill Bruford's shift toward subtlety and service to the music's overall color upon joining after Muir's departure in 1973. Bruford credited Muir as his "biggest influence," stating that he "turned my head totally around" by prioritizing intuitive tone and texture over rhythmic ostentation. This approach helped redefine percussion roles in the genre, emphasizing environmental and textural contributions. His evolution began with jazz trombone roots in the 1960s, drawing from avant-garde figures like and , before transitioning to percussion through self-taught practice on drums and extended techniques in groups. By the early 1970s, this progression was evident in recordings with ensembles like the Music Improvisation Company, where he explored ripping sheet metal, breaking crockery, and other visceral sounds to expand beyond conventions.

Discography

With King Crimson

Jamie Muir contributed percussion to every track on King Crimson's sixth studio album, , released in March 1973 by . His work encompassed a wide array of unconventional instruments and techniques, adding experimental textures to the band's sound. Notable examples include his atmospheric effects in "Easy Money," where he employed items like a , chains, and crinkling paper to evoke urban grit and tension. In the 2012 expanded box set Larks' Tongues in Aspic: The Complete Recordings, released by , Muir's role is further highlighted through alternate mixes and previously unreleased material, including a solo percussion rendition of "Easy Money" that showcases his improvisational prowess. The set also incorporates live recordings from the band's 1972–1973 tours, capturing Muir's dynamic percussion during performances at venues such as the in and Watford Town Hall, marking some of his final appearances with the group. Muir issued no solo releases during his brief time with , and he made no guest appearances on affiliated projects in that period.

Other recordings

Muir produced no solo recordings, with his work outside consisting of collaborative projects in and other genres. His earliest such effort was with The Music Improvisation Company, alongside Derek Bailey on guitar, Evan Parker on , and Hugh Davies on and bass, resulting in the self-titled The Music Improvisation Company, recorded in August 1970 and released later that year on . The group also issued a compilation 1968–1971 in 1976 on Records, drawing from live and studio sessions including previously unreleased material. In 1981, Muir reunited with Bailey for the duo improvisation Dart Drug, recorded in and released on Incus Records, noted for its raw, experimental acoustic interplay. Muir provided percussion on Going Gone (1986, Another Side Records) by & The Engine Room. Muir joined saxophonist Evan Parker, bassist Paul Rogers, drummer Mark Sanders, and trombonist Wolter Wierbos for tracks on The Ayes Have It, a 2001 Emanem Records release incorporating 1983 studio improvisations emphasizing dynamics. Later, with drummer —his former bandmate—and composer David Cunningham, Muir contributed to Ghost Dance (1995, Piano Records), an ambient and experimental soundtrack album featuring tracks recorded in the early 1980s.

References

  1. https://www.theguardian.com/music/2025/feb/26/jamie-muir-obituary
  2. https://www.telegraph.co.uk/obituaries/2025/02/26/jamie-muir-percussionist-classic-king-crimson-lp-obituary/
  3. https://echoes.org/2025/02/18/jamie-muir-king-crimson-percussionist-rip/
  4. http://www.terrascope.co.uk/MyBackPages/THE%20TALKING%20DRUM.pdf
  5. https://www.dgmlive.com/news/jamie-muir-1942-2025
  6. https://ecmrecords.com/product/the-music-improvisation-company-derek-bailey-evan-parker-hugh-davies-jamie-muir-christine-jeffrey/
  7. https://www.dgmlive.com/biographies/jamie-muir
  8. https://www.loudersound.com/features/he-was-such-an-interesting-man-a-funny-combination-of-intensity-and-craziness-king-crimsons-jamie-muir-remembered
  9. http://www.jazzshelf.org/kclarks.html
  10. https://www.joyonfire.com/2017/08/
  11. https://www.loudersound.com/news/king-crimson-percussionist-jamie-muir-has-died-aged-82
  12. https://www.allaboutjazz.com/dart-drug-derek-bailey-honest-jons-records-review-by-chris-may
  13. https://honestjonsrecords.bandcamp.com/album/dart-drug
  14. https://www.discogs.com/release/1816152-Evan-Parker-With-Jamie-Muir-Paul-Rogers-2-Mark-Sanders-Wolter-Wierbos-The-Ayes-Have-It
  15. https://www.discogs.com/release/959109-Michael-Giles-Jamie-Muir-David-Cunningham-Ghost-Dance
  16. https://www.onefinalnote.com/reviews/p/parker-evan/ayes-have-it.html
  17. https://www.jamiemuirart.com/jamie-muir-artwork/paintings
  18. https://www.facebook.com/billbruford/posts/jamie-muir-died-today-17022025-in-cornwall-uk-with-his-brother-george-by-his-sid/1245892226898883/
  19. https://www.nme.com/news/music/tributes-paid-after-king-crimsons-jamie-muir-dies-age-82-a-wonderful-and-mysterious-person-3839181
  20. http://www.marknauseef.com/articles/mnjunk/junk.htm
  21. https://www.yahoo.com/entertainment/jamie-muir-percussionist-whose-subtle-113306871.html
  22. https://www.elephant-talk.com/wiki/Interview_with_Jamie_Muir_in_Ptloemaic_Terrascope
  23. https://www.dgmlive.com/albums/larks-tongues-in-aspic
  24. https://www.abigaildevoe.com/post/larks-tongues-in-aspic
  25. https://www.allaboutjazz.com/larks-tongues-in-aspic-40th-anniversary-series-box
  26. https://www.dgmlive.com/products/larks-tongues-in-aspic-the-complete-recordings
  27. https://www.loudersound.com/news/king-crimson-live-release-features-jamie-muir
  28. https://musicbrainz.org/artist/80cd8905-3f04-4c57-a282-1e8546cbf8f3
  29. https://www.discogs.com/master/217407-The-Music-Improvisation-Company-The-Music-Improvisation-Company
  30. https://www.discogs.com/master/252011-The-Music-Improvisation-Company-1968-1971
  31. https://www.discogs.com/master/110081-Derek-Bailey-Jamie-Muir-Dart-Drug
  32. https://www.discogs.com/master/137074-Richard-Strange-The-Engine-Room-Going-Gone
  33. https://www.discogs.com/master/803630-Michael-Giles-Jamie-Muir-David-Cunningham-Ghost-Dance
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