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Notes
Though this is probably not the kind of thing that Chuck Berry had in mind when he sang “but he could play the guitar just like ringing a bell”, it’s an apt enough description of Glass And Breath.

There’s none of Fripp’s trademark soloing or those orchestral manoeuvres in the dark night of the soul that characterises much of his Soundscapes work. Rather, this is minimalist mood music revolving around a repetitive chiming motif, reminiscent sometimes of Brian Eno’s Neroli, particularly in terms of its careful use of space and atmosphere.

Those who prefer Fripp’s more full-blooded forays in guitar-land will be disappointed at the lack of thrills or spills on display here. Making his other solo works sounds as cluttered as a Scott Bradley score in full-flight, this is in essence an ambient piece: complimentary music to leaven the day and refresh the musical palate.
 

Tracks
Disc Number 1
1.  Glass And Breath I   20.06
2.  Glass And Breath II   20.18
3.  Glass And Breath III   19.45

Personnel
Fripp

 


Audio Source: Dat Tape Direct From Rack

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Band Member Diaries

    Fri., May 4, 2007
Written by Robert Fripp

10.35

DGM HQ.

A grey day in the valley.


This is what I was doing 27 years ago today

11.24  Stormy Mundy is at the controls of SoundWorld II…


Feet of the Rock God are about to snap like whipcords & dance across the Pedals of Power, Terror & Unfolding Wonder…


Lights flash, programmes load…


Hugh the Fierce is uncaring of our efforts, resplendent in DGM ArtWorld I…


II…


15.48  Contributions to 5 of the 6 tracks on offer from Gavin, who made specific suggestions for two of them. One suggestion included a solo, but nothing arose in response to listening.

Also, when work for Gavin was done, we recorded an ambient album of 3 20-minute tracks for free DGM Live download: Glass & Breath.

16.55 The sun has begun to shine on the DGM Tractor & Composting Lot…


17.54 This has just gone out to various GC Representatives for forwarding to their communities…

To Those Who Know And Who Are Known.

This is a subject I have been giving consideration for several weeks, and my sense is to set act now.

I propose that those of us who feel that Guitar Craft is a necessary undertaking in our lives, community & the larger world, commit to tithe 10% of our disposable income for a period of 3 years, beginning on June 21st. 2007. I am presently looking at the formalities of establishing a dedicated GC Tithing account.

Tithing has little to do with money, although any operation that parts us from our hard-earned pay acts as a pointed stick. Undertaking this commitment to Guitar Craft is an intentional action & provides a “conscious shock”. The aim is to keep the larger Guitar Craft process on course and moving forward.

The external aim, which has its own value & necessity, is to acquire a small Guitar Craft House in my hometown of Bredonborough, Worcestershire. A property with 3 bedrooms & close to the town centre is sufficient at this time. Bredonborough is a small, vibrant market town with a population of c. 6,000, good communications & public transport, shops & activities. I am able to personally oversee the maintenance & operations of a property of this size & position.

The aim of the GC House, as envisaged, is to support the work of small groups & individuals, visiting for shorter & longer periods.

My current sense is that a possible property may present itself within 2 years’, in the region of £330,000.

If at the end of the 3-year period a property has not been acquired, I will re-consider the position.

When I was on the Board of Directors at Claymont in 1984, and sending out good wishes to the community, I had a powerful insight into its future: I saw that the Claymont undertaking, as envisaged by JGB, was in doubt. This was a surprise. Along with many of those involved in the Claymont Society for Continuous Education, I knew the difficulties, but hadn’t doubted that we would be able to meet the challenges. So, it was unexpected to find myself in a place where that future was unsure.

Accompanying this insight came the conviction that, in order to keep the project on course, it was necessary for those who supported JGB’s vision to commit themselves to tithing. This I proposed, not long afterwards, at a board meeting. The moment was remarkable: it was as if a door opened to another world: a world of possibility, and a very different place to the world of constriction, limitation & mortgage payments that were standard items of board discussion & consideration. The board was unable to make this commitment, and the door closed. Another board member in the meeting, sensing the door closing, asked that we reconsider: the door hovered half open, for a short while, and then closed again.

If those persons, nominally responsible for the protection, survival & development of a project, are unable to commit themselves to it, it is likely to fail. Such was the case with Claymont, at least in terms of its defining aims: it became something else, no doubt with its own usefulness & possibilities. Guitar Craft must not become a something else, even if that something else were a successful guitar method.

 Robert Fripp

Friday 4th. May, 2007

DGM World HQ, Wiltshire, England.

18.05 Closing the desk & off to Bredonborough.

22.45  Bredonborough.

Leaving DGM HQ, travelling through Wilton & onto Salisbury Plain…


 … onto the A303 East  & past the magic bumps…


… surrounding Stonehenge…


… a small delight is driving through Marlborough I…


II...


III...


IV...


V...


VI...


VII...


VIII...


And even home early enough for 2 hours’ practising.

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Fan Reviews

 out of 5 stars2 out of 5 stars2 out of 5 stars3 out of 5 starsnot my cup of tea?, Wed., Sep 25, 2013
Written by whutchins254

With respect and goodwill; Everything in the human experience has the palpable sense of beginning and ending, of movement toward or away from something. A day, conversation, a book, a movie, sex, a meal, a vacation, a sunrise or sunset; all these move forward to a conclusion, and if they don’t these grow very boring and wearisome. [Think of incarceration or drifting aimlessly in a lifeboat, for example.]

This piece is pleasant enough for what it is, I suppose, but there is no sense of moving in time, of moving in any direction of any sort. If this is the goal, the ultimate ambient accompaniment to whatever one is doing at the time, I respect that. If the changes are too subtle for me to discern or appreciate, I acknowledge my shortcomings; but this work, to me, has the same sort of randomness to it as wind chimes. It is not my cup of tea, and it may very well not be yours, even if you otherwise enjoy Soundscapes.

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