This is a calmer slightly more subdued affair than the previous evening. That said after the obligatory slowly building set-up, the solos which emerge in the last 14 minutes a pure heaven. Beginning with a graceful Heavenly Music Corporation-style curl, Fripp gradually opens up the throttle, producing some of the tumbling, rhapsodic lines heard on the Easter Sunday he would revisit in 1983.
Though shorter in length, this benefit gig for a local theatre group contains the kind of playing which has given these concerts their legendary status. The dramatic flurries which dominate the last seven minutes possess an astonishing, often dazzling intensity. The perfect companion piece to the previous day’s concert.
In reconstructing this concert Alex “Stormy” Mundy has done a remarkable job given the technical challenges facing him. “I managed to sync up the solos with the loops which were on separate reels. The only guide that I had was that you could hear the loops from Robert’s guitar pickup when he wasn’t soloing.”
This is a calmer slightly more subdued affair than the previous evening. That said after the obligatory slowly building set-up, the solos which emerge in the last 14 minutes a pure heaven. Beginning with a graceful Heavenly Music Corporation-style curl, Fripp gradually opens up the throttle, producing some of the tumbling, rhapsodic lines heard on...
there’s beauty throughout this recording. it is (despite the geographic placement of its emerging) very pacific sounding. where the frippertronics can be coloured with smears of yellow and shards of red (crimson even), shades of blue abound in this music. it has a softness about it in the blurred arcs and string bending that characterizes some of fripp’s gentler frippertronic work. the solos have a quality of reflective questing about them. a sense of unfolding. a sense of emerging. a most ...
there’s beauty throughout this recording. it is (despite the geographic placement of its emerging) very pacific sounding. where the frippertronics can be coloured with smears of yellow and shards of red (crimson even), shades of blue abound in this music. it has a softness about it in the blurred arcs and string bending that characterizes some of fripp’s gentler frippertronic work. the solos have a quality of reflective questing about them. a sense of unfolding. a sense of emerging. a most aching sense of the knowing of work ahead. loop and solo ii are astonishing revelatory insights into what was possible with the frippertronics. i’m grateful to the sound engineer and the musician for this music. steven
Written by Stephen Byous
l'homme brûlant
Fine work by both performer and audio engineer. Very much appreciate the original loops which have a power apart from being vehicles for soloing.
Written by Jonathan Block
A no-brainer purchase
Great sound quality and performance, with some interesting components to every loop. If you have any interest in vintage Fripptronics this is a good place to start (or continue).
