From Amsterdam and onto Paris where PT and RF were playing the Olympia, a venue that Fripp first encountered with Crimson in 1973.
As the scape transitions between Paris I and Paris II, the colour palette gently darkens as a swirl of minor notes describe not only a shift in key but in mood. Within a few seconds, the temperature has dropped from pleasantly warm to decidedly chilly, and around the 6-minute mark, it takes a plunge into the icy depths. It is this kind of compositional depth that surely prompts the crowd to applaud as the whole piece twinkles and fades to a conclusion.
Following the soundcheck, writing in his diary Fripp observed, “Standing afterwards at the back of the stage, wondering – What shall I play? Help! And then, help appeared. The first note, and then the first motif, then the second motif, presented themselves. Help is always available, if we are ourselves available to be helped. I enjoyed the performance. Good response. Lotsa flashes.”
Tracks in Brackets, have been previously released as part of the Music For Quiet Moments Series
As the scape transitions between Paris I and Paris II, the colour palette gently darkens as a swirl of minor notes describe not only a shift in key but in mood. Within a few seconds, the temperature has dropped from pleasantly warm to decidedly chilly, and around the 6-minute mark, it takes a plunge into the icy depths. It is this kind of compositional depth that surely prompts the crowd to applaud as the whole piece twinkles and fades to a conclusion.
Following the soundcheck, writing in his diary Fripp observed, “Standing afterwards at the back of the stage, wondering – What shall I play? Help! And then, help appeared. The first note, and then the first motif, then the second motif, presented themselves. Help is always available, if we are ourselves available to be helped. I enjoyed the performance. Good response. Lotsa flashes.”
Tracks in Brackets, have been previously released as part of the Music For Quiet Moments Series
