Ian McDonald (75) – King Crimson/Foreigner – was born on 25 June 1946 in Osterley, Middlesex, England, the son of Ada (née May) and Keith McDonald, an architect. He grew up in a musical family and taught himself the guitar. His music interests ranged from classical orchestra to dance bands to rock. At 15, he left school and began a five-year stint in the British Army as a bandsman. In 1963 he enrolled at the Royal Military School of Music at Kneller Hall, where he took clarinet and learned to read music. He later learned piano, flute and saxophone and taught himself music theory. His experience of playing with army bands gave him great musical adaptability as he had to learn many different musical styles such as show tunes, classical, jazz, and military marches. It was this that honed his style to what eventually became the beginnings of the Prog Rock movement.
After leaving the army, McDonald moved back to London, and began making music with his girlfriend, former Fairport Convention singer Judy Dyble. In May 1968 Ian McDonald placed an advert in Melody Maker which read: “Musicians wanted. Serious ones only.”
Among those who replied was guitarist Robert Fripp and drummer Michael Giles. It proved to be a seminal moment in prog rock that led to the birth of King Crimson. Blending elements of jazz, rock, proto-metal and symphonic music with avant-garde improvisation and complex time signatures, over the next few months the nascent group created a unique sound that was to change the face of popular music.
However, the relationship with Dyble ended and she left the band before they played their first gig in 1969, by which time McDonald, Fripp and Giles were joined by Greg Lake and lyricist Peter Sinfield.
King Crimson’s debut album The Court Of The Crimson King, was filled with McDonald’s multi-instrumental presence on flute, saxes, woodwind, vibraphone, various keyboards, and of course, arguably the album’s signature sound, the Mellotron. Alongside all of that technical virtuosity, built and honed during his stint as an army bandsman in the mid-1960s, Ian was blessed with an ability to write and compose, something he often did on guitar.
Three months after their first gig, they supported the Rolling Stones at their famous free concert in Hyde Park (with new guitarist . They stole the show, with The Guardian reporting that the Stones’ performance was “indifferent”, but that King Crimson were “sensational”. McDonald’s saxophone solo was a high point on their track “21st Century Schizoid Man“, and he went on to play this on their first album In the Court of the Crimson King.
The high point of the Hyde Park gig came when the entire audience of some 650,000 cheered McDonald’s blazing blitzkrieg of a saxophone solo during the band’s show-stopper 21st Century Schizoid Man. “I remember the hairs on the back of my neck rising as the roar from this huge crowd went up,” King Crimson roadie Richard Vickers remembered.
The album jump-started the progressive rock era, and paved the way for similar bands such as Yes and Genesis, Emerson, Lake, Palmer, Barclay James Harvest and the Moody Blues. McDonald composed 2 of the 5 album tracks, including the title track and “I Talk to the Wind” on which his jazzy flute solo is one of the album’s defining musical moments, and co-wrote the other 3 tracks with the other group members.
Yet within months, growing emotional friction within the group had led him to quit. Along with drummer Mike Giles, he left in the middle of King Crimson’s first US tour. “To keep the band together, I offered to leave instead,” Fripp said. “But Ian said that the band was more me than them.”. (McDonald later ).
McDonald later regretted his hasty decision and apologized to Fripp for leaving the band in 1970. “I was not quite ready for the attention we were getting and I wasn’t emotionally equipped to deal with what was going on,” he said. “I was away from home and it was a spontaneous decision. Perhaps I should have gone home and thought about it a little bit, but there you are.”
McDonald and Giles formed a duo that released one album titled McDonald and Giles, which featured an orchestral backing instead of a Mellotron as used with King Crimson.
Following McDonald And Giles the pair went their separate ways and McDonald’s next contribution to rock’n’roll history could not have been more different. If prog rock meant “taking different influences and expanding the basic combination of drums, guitar and bass”, as he put it, he promptly went back to just such basics when he turned up as a session player on T Rex’s 1971 glam-rock chart-topper Get It On, where he borrowed Mel Collins‘ baritone saxophone and, at the other end of the commercial spectrum, the free-jazz and rock ensemble opus, Septober Energy by Keith Tippett’s Centipede, underlining his view that all music had a value regardless of stylistic considerations. Production work beckoned including Canis Lupus by Darryl Way’s Wolf in 1973, and after his guest spot on King Crimson’s Red in 1974, he went on to produce Fruup’s Modern Masquerades in 1975 and American proggers’ Fireballet’s debut Night On Bald Mountain the same year.
There was a brief attempt to reunite with Fripp and King Crimson in 1974 but it led to nothing and after moving to New York City in 1976 McDonald became a founder-member of Foreigner. With a six-strong line-up of British and American musicians playing a classic, radio-friendly form of stadium rock, the band had huge hits with Feels Like the First Time, Cold As Ice and Hot Blooded. With Foreigner, McDonald played guitar as well as his woodwinds and keyboards.
He recorded three multi-platinum albums that made Foreigner one of the biggest-selling acts of the era before he was bounced out of the band by lead guitarist and main songwriter Mick Jones.
As a session musician McDonald appeared on To Cry You A Song, a Jethro Tull tribute album released 1996 by Magna Carta Records, appearing on Nothing Is Easy and New Day Yesterday. He also appeared on Centipede‘s album Septober Energy. He produced the Darryl Way’s Wolf album Canis Lupus and Fruupp‘s Modern Masquerades (1975). The closing track on Canis Lupus, “McDonald’s Lament”, was dedicated to him. In 1996, McDonald toured with former Genesis guitarist Steve Hackett, which was included on the album The Tokyo Tapes. The group included a performance of King Crimson’s “The Court of the Crimson King“, and “I Talk to the Wind“, the tour also included fellow King Crimson alumni John Wetton. In 1999, he released a solo album, Drivers Eyes, which featured John Wetton, Lou Gramm, John Waite and Gary Brooker.
In 2002 McDonald teamed up with other King Crimson alumni in the 21st Century Schizoid Band, toured for three years and released several live albums.
He said of his chameleon career: “I just contribute to whatever situation I’m in and really it’s all the same to me. It’s music and I’ve been lucky to make it my life’s work.”
“One of the things I’ve always done when I’m recording a song is I ask myself, ‘Could I listen to this 500 times?’ So you have to be honest with yourself when you are making a record. All the while in the studio when we were recording the album I was thinking, ‘Will I still want to listen to this in 50 years’ time.’ So part of me was thinking 50 years ahead if you like.”
McDonald contributed saxophone and flute to several tracks on Judy Dyble‘s 2009 release Talking With Strangers. The album saw McDonald reunited with Fripp on the 20-minute “Harpsong”.
In 2017, McDonald, his son Maxwell and singer-guitarist Ted Zurkowski formed the band Honey West, which released an album Bad Old World in 2017, which he described as “an alt-country band with rock leanings”.
McDonald died from cancer at his home in New York City on Feb 9, 2022. He was 75 years old.
