Although he was writing about live Frippertronics in London in 1979, Melody Maker's Allan Jones' observations seem equally apt to this last concert of Fripp's run at Inroads. "The audience...could see him playing; they could, more reveallingly, see him *thinking* about what he was playing. They could observe his manipulation of technical effects and devices. The entire process of making music was thus demystified. Fripp was vulnerable, exposed. With no set programme to follow, he could rely on his wits; the precision of his reflexes, the strength of his technique in translating with fleet grace the flow of ideas as they occurred to him."
Highlights of this mesmeric concert include the brief muscular flurry of notes on Loop I and Solo I; the gnarly, almost argumentative dialogue the solos have with the loops on Loop II And Solo II; the fantastically dirty splurging detuned notes at the end of Solo VI which sound as though Belew had just walked into the room.
Immediately after this run of concerts in New York, Fripp returned to the UK to begin work on his first collaboration with Andy Summers, I Advance Masked.
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Robert Fripp Guitar
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