There’s an extraordinary passion in evidence in this set of scorching hot Frippertronic reels. Despite missing the solos which were played over the top of these loops, this is nevertheless an enthralling collection of moods and dynamics that stand up on their own. Loop I and III are the most dramatic of the four here, which were used when Fripp made an appearance at WMCF radio studios in Rochester, New York.

The music is full of surprises and unplanned events such as when the table supporting his two trusty Revox tape recorders is inadvertently knocked. The associated rumble becomes immediately incorporated into the music, a rhythmic thud that dances off into a slowly circulating oblivion.

It’s also brimming with a more intentional drama and there are times when the notes seem to be etched deep into the magnetic tape. Low notes howl like some demented beast from hell, whilst jagged slashing figures on Loop III are consumed in a fireball of white noise. Listen out for the deep terminal descending notes of the kind that feature on The Heavenly Music Corporation and the sizzling furnace created on An Index of Metals. It’s hair-raising stuff! Loop IV is arguably amongst Fripp’s most pastoral and lyrical of moods. A beautiful melody is allowed to slowly unfold and gradually fade into nothingness. This is blissful music from start to finish.

In making these loops available for download, DGM engineer, Alex “Stormy” Mundy, was faced with a dilemma as the tape box indicated that reels belonged to both the 5th and 6th July, 1979. Employing a bit of the “best guess” theory he’s opted for the 6th - the date at WMCF studios but it could equally be Robert’s appearance at Just A Song in Albany, New York the previous day. If anyone is able to clarify this please get in touch.

AUDIO SOURCE: Quarter Inch Reel to Reel Tape

DGM AUDIO QUALITY

AVERAGE CUSTOMER RATING

TRACK
TIME
01
Loop I
17:23
02
Loop II
08:53
03
Loop III
21:37
04
Loop IV
09:29

RF19790706Rochester

BROWSE SHOWS WITH PHOTOS

Written by Sylvain Despretz
Rochester shows were stunning, warm, beautiful...
This recording is especially meaningful to me because I was there in 1979, and amazingly happened to be living down the street from WCMF’s little semi-basement offices in East Rochester, NY. I literally spotted a little gathering and was curious about the unlikely event they were set to attend. There were only a handful of folks, to my recollection. And so I discovered Robert Fripp - and everything changed. Frippertronics never left my heart; they still perform their mysterious covenant with a part of my brain I don’t even know or understand - 36 years on, the secret dialog continues - Fripp is a true magician. For those who wondered, WCMF were the correct call letters - it stood, believe it or not, for W - "Crazy Mother F***er"... Yup - those were the days... Rochester was a university town (U of R, Eastman School of Music, etc.) which was highly receptive to experimental bands - I had no idea at the time how lucky we were."CMF" , as we simply referred to it, was a station keen on inviting bands to perform and on setting up concerts for prog groups (like Brand X, etc.) - for this reason, a lot of good soundboard bootlegs come from Rochester.But to this recording itself: it is one of the smoothest, best sounding, warmest live Frippertronics loop collection I have ever heard. A great find for the Fripp aficionado in you. It is balanced and magical. Like that warm July evening at the T-junction of Herkimer St.
Written by Jeff Miner
A very interesting set
This is a "loop only" set, so, alas, no solos However, Loop I has a very uncommon rhythmic aspect one rarely hears in these performances and it’s quite compelling. Loop IV is quite lovely and very much in the Evening Star mode - it even ends with a reference to Wind on Wind (or is that Wind on Water - I never can remember)
Written by Ted Boburka
just a correction
the radio station is WCMF.
Written by Stephen Nyland
Do Not Hesitate To Acquire This
I must confess a certain attachment to the Revox & Les Paul era Frippertronics work that cannot be put into verbal terms. "Let The Power Fall" and "God Save The Queen" are amongst the most often listened to albums in my history, with a quest to find MORE! being a lifelong journey. Obtaining this set has been fulfillment of that yearning and might very well be the current existing ultimate example of Pure Frippertronics available. The sound quality is impeccable -- even over a cell phone’s speakers, this stuff is hot -- and the breadth of the four improvisations is the most ambitious yet presented as far as the Frippertronics concept goes. The scope of "Loop 3" even dwarfs "The Heavenly Music Corporation" at 23 minutes of sonic experimentation that does not contain one dull moment, with sections of music as grand as any to be found on a side-long composition from your favorite art rock epic. You can imagine him continuing the loop almost ad-infinitum, making one ponder the question of what the longest duration loop Fripp ever recorded with the Revox’s was? What would have been the limitations? "Loop 1" also weighs in at 17+ minutes of awe inspiring improvisation, built architecturally into a mammoth of sound that ranges all frequencies. "Let The Power Fall" was awesome, and "God Save The Queen" maybe even more so, but this set is a masterpiece as far as the pure looping process goes.While my first choice recommendation for DGM Frippertronics shows offered here has to be the 1979 Chicago set from Sound Warehouse due to the live audience element, this is your second stop for the sonic wonder that was Revox era Frippertronics in epic form. The other sets have some great solo work done over the loops which completes the process as the Artist envisioned, but this collective reflects the looping as a pure form in its most ambitious level of execution. One aspect I always admired about the pure Frippertronics is how the concepts of patience and foresight played a role in the improvisation: The patience to allow passages the room to evolve within a fixed time continuum, and the foresight to guide that evolution in a manner very akin to weaving a tapestry of sound. It is perhaps on these loops that Fripp demonstrates his patience & foresight on the grandest scale yet released, and I can only hope we get to be treated to more of it soon!Steve Nyland, Syracuse New York
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