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deleted to avoid arguments
Last edited by thelostboss; 08-02-2022 at 06:46 AM.
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05-19-2019 04:36 AM
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I've been listening to Adrian Belew a lot these days. His works with Fripp during the King Crimson group really defy genre labels in the ways that some of the most adventurous players in "jazz" also do. As rock music has gone beyond its R&B roots, created something not limited by genre and audience expectation, jazz has been redefining boundries in the same way.
Robert Fripp's music may not have the same genre specific swing sense that jazz has, but his roles as composer and brilliant band leader is very much in the spirit of where a lot of improvisational music is going.
I like seeing discussions of musicians in non-jazz traditions like Bowie, Zappa, late era Miles... who are using the talents of great jazz and exploratory musicians to make music that redefines what can be done. It was great to see Bowie work with Ben Monder, Zappa working with Archie Shepp, Fripp working with Adrian Belew. I've long wondered what a collaboration with Bill Frisell would wind up being.
David
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Fripp is my hero. His playing is knotty and inspired. He has always been his own person. He made Bowie even better. (No disrespect to Ronson or Gabrels.)
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Robert Fripp is a musician/composer who happens to play guitar, so I hope we can talk about him here!
Early Crimson (especially their live work!) was 1970's heavy-metal jazz, with some nice "songs" thrown in for good measure!
I saw the 80's lineup a few times, and they blew us away!
Never explored Fripp's alternate tunings or anything, but I dig him as a player and composer.
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fripp @ 21 years old
cheers
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Originally Posted by marcwhy
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I always liked the Andy Summers album "I Advance Masked."
I enjoy "The League" as well. Kinda scary and cult like, but I don't know of anything remotely similar. That many guitars playing together would be mush under any other concept. I like the comment of giving them a sitting Ovation. Also, for the entire last segment the guy front left doesn't play or move at all. There has to be some tongue and cheek in that.
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The League of Gentlemen, Fripp's new wave band:
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saw fripp perform his solo soundscapes in the shadows of the world trade center a few times shortly before 9/11...he played the world financial centre! (on a few occasions)...strange yet ethereal...his mother had recently passed before one performance..and it had great moving impact...
only intensified in retrospect
cheers
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Originally Posted by Eric Rowland
Fripp's early stuff (Giles, Giles and Fripp) showed he had a strong jazz background. On "Digging My Lawn", he had some Wes-type stuff going on, and that "Suite in D" neatomic posted showed he had phenomenal technique.
On the first KC LP he played the schist out of the ensemble passages on 21st CSM, and rolled off the tone control on his LP or Tele on a lot of the other tunes to get an almost flute-like sound on his lines.
The first KC band were heavily into free jazz on "Moonchild" and he and McDonald used to go nuts on the few live things I've heard of the band.
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Rodney was a sad young man because he was fat and ugly......
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^
cheers
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Originally Posted by TruthHertz
However, I’m impressed by Fripp’s work on Peter Gabriel’s ”Solsbury Hill” from 1977.
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Originally Posted by Eric Rowland
I actually saw both of these great guitarists about the time that interview occurred...1981-2. Fripp played with the rebooted King Crimson, and McLaughlin was in his Belo Horizonte phase—the lovely Katia Labeque on keyboards. For Crimson we were dancing just below the stage, about 20 feet away. For McLaughlin my GF and I had a table also about 20 feet away. Both were magical experiences.Last edited by Doctor Jeff; 06-15-2019 at 08:53 AM.
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Originally Posted by Bbmaj7#5#9
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Originally Posted by Doctor Jeff
McLaughlin: Can I get you more coffee?
Fripp: I should love more coffee. Where do these chocolates come from?
McLaughlin: They come from the Basque coast, where we go a lot of the time. Maybe one day you can come and visit.
This is a long way from Spinal Tap.
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I learned this song by ear because there was no sheet music, and I loved it. I play it all the time. I’m not the only one. There’s no reason why this song shouldn’t be a standard .
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Originally Posted by Eric Rowland
Wow, thanks for that link - never read that interview before. I love it when accomplished musicians discuss their craft with other accomplished musicians, especially when they are as articulate as McLaughlin & Fripp.
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Originally Posted by Doctor Jeff
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in ways a vivid contrast to American rock players talk to each other via interview format..Sammy Hager did some of that kind of thing
When I have met/played with musicians that have had alot of "life experiences" and explored the outer boundries of any musical style..there is an isolation that seems to come with that exploration..
that you cant seem to explain to anyone who has not "been there" and then there is no need to try to explain it..
its not a way to see/hear/use the music fundamentals..chord harmony..voicings and all that or what to play over some alterend harmonic movement .. all that does not enter your mind at the time..much like driving fast...very fast...your not thinking about driving..you dont have time to think about it .. someone else is driving..your just along for the ride...
at some point your only playing in one key
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Someone requested a *leadsheet* to Matte Kudasai. I'm at work and can't create one. I just figured out the melody. You can harmonize it any way you want, it's a simple pop song.
I did not create a lead sheet, but I'll post a "Nashville numbers" system to describe the melody, as it correlates with the words. Feel free to correct me if I'm wrong. You can harmonize it anyway you want.
The melody seems to be the same for both vocal sections, more or less. Hope this helps, sorry I can't type up a lead sheet. And please excuse the mistakes, if you see any (and correct me, please, I'm just a schmo trying to play songs I really dig).
Still, by the window pane, P5 below the R for "Still", 1-2-4-3-2 for "by the window pane"): So, in the key of C: G--C-D-F-E-D
Pain, like the rain that's falling. "Pain" as in P5 (one version has it above the R, or can play it below the R), then 1-2 ("like the")-4-("rain") 3 ("that's) -2-3 ("falling") So: G to C-D-F-E-D-E
She waits in the air, Descending and desc-- P5 to P4 to M3 up to P4 to P5 G (P5 above R, "she") to F ("waits") to E to F to G ('in the air")
Matte Kudasai. M3 to P4 ascending, then M6 to P5 to P5 descending (E to F--Matte--then A to G to G (Ku-da-sai)
She sleeps in a chair: same as "She waits in the air" ): Descending and desc-- P5 to P4 to M3 up to P4 to P5 G (P5 above R) to F to E to F to G
In her sad America. 1 to 2 ("in her") to 4 ("sad") to 3 to 4 to 3 to 2 ("America") C to D, F to E to F to E to D
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My college girlfriend and I had our first date at the November 1981 KC show at the Agora Ballroom in Atlanta. As stated, we were a scant 20 feet away from the stage, moving in time to the rhythm. We went back to my place and put the album on. I will leave the rest for your imagination, but let's just say Matte Kudesai is one of the great makeout songs of all time in my book.
We hooked up to KC's Discipline, and broke up to Roxy Music's Avalon. I can't listen to either one without thinking of her.
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It's hard to believe Fripp was writing and playing music like this back in the 70s. However, like the original King Crimson, all of the names of this particular KC band are on the piece, so it's hard to say what Fripp himself was responsible for in the compositional process:
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Charlie Garnett - Franken Tele
Yesterday, 08:52 PM in Guitar, Amps & Gizmos