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January 14, 2006  |
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All Saints Church Broad Chalke, Wiltshire, UK |
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Notes
This is an edited version of Fripp's first public performance of 2006 in the tiny All Saints' church in the Wiltshire village of Broad Chalke. Though some of the titles look familiar don't be fooled into thinking that Fripp is going over the same ground as before. Rather, he's delving deeper into the areas he'd mapped out during last year's December Suite. Time Stands Still and At The End Of Time fly to another time and space altogether. Along with the luxuriant Pastoral and the intriguing Queer Space Whole Tone, they all contain some of Fripp's most emotive and yearning soloing to date. Graciously unfolding over nearly 80 minutes, the concert builds to a satisfying, if slightly abrupt, conclusion suggesting there was definitely something special going on at All Saints' to make those old church stones sing all the way up to heaven. File next to Blessing Of Tears, November Suite, WFC, Wulfren 2005 i.e. essential.
The tone probes which are available from the same day elsewhere on the site do not appear in this performance.
From Robert's diary
A gentle event, I believe. No idea how it might have been for the audience. The 90 minutes of music may have been 60 too many for some of those present, but the event is always more than the music. Sometimes, the event happens while the music doesn't quite. Sometimes, the music is superb & the audience doesn't connect to it. And those are only two of the possible ways that performance might happen.
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| Tracks
All previews are MP3 192kbps
Personnel
Robert Fripp - Guitar
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Audio Source: Dat Tape From Rack
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Fan Reviews
A peak soundscape performance, Tue., Nov 25, 2008
Written by davidfsnyder
While following the same general structure as the other soundscapes in the general time zone of this perfformance, this particular performance finds the heart of that structure and releases a fascinating interplay of tone and temperaments that is richer than others in the series.
In Time Stands Still, Mr. Fripp gives an electric guitar solo that plainly paints an aching and longing picture of great beauty.
The Queer Improv sections, more numerous (3) than on previous or following performances, provide constrastive counterpoint to the more reflective sections. The three different modalities, and the sequence in which they are chosen, form a rich mixture and fasicinating rejoinders to the more contemplative sections. The choice of tones for the solo lines, typically dual in nature, are well chosen and provide interesting and palatable sensations for the sensitive ear. I particularly enjoyed the piano/guitar, very subtle in tone and it worked well with the melodic development.
Future Shift makes good use of bell tones and other synthesized effects to transition into the awesome At The End of Time, a journey in its own right.
The ending of this release is, indeed, abrupt, but I do note that the performance barely squeezes onto an audio CD, but it does and I am grateful.
Well, a soundscape for the ages, which I will rank at the top with the World Trade Center soundscape and Mie Gakure, which are also paragons of this art form.
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