This is an edited version of Fripp's first public performance of 2006 in the tiny All Saints' church in the Wiltshire village of Broad Chalke. Though some of the titles look familiar don't be fooled into thinking that Fripp is going over the same ground as before. Rather, he's delving deeper into the areas he'd mapped out during last year's December Suite. Time Stands Still and At The End Of Time fly to another time and space altogether. Along with the luxuriant Pastoral and the intriguing Queer Space Whole Tone, they all contain some of Fripp's most emotive and yearning soloing to date. Graciously unfolding over nearly 80 minutes, the concert builds to a satisfying, if slightly abrupt, conclusion suggesting there was definitely something special going on at All Saints' to make those old church stones sing all the way up to heaven. File next to Blessing Of Tears, November Suite, WFC, Wulfren 2005 i.e. essential.
The tone probes which are available from the same day elsewhere on the site do not appear in this performance.
From Robert's diary
A gentle event, I believe. No idea how it might have been for the audience. The 90 minutes of music may have been 60 too many for some of those present, but the event is always more than the music. Sometimes, the event happens while the music doesn't quite. Sometimes, the music is superb & the audience doesn't connect to it. And those are only two of the possible ways that performance might happen.
This is an edited version of Fripp's first public performance of 2006 in the tiny All Saints' church in the Wiltshire village of Broad Chalke.[endtease] Though some of the titles look familiar don't be fooled into thinking that Fripp is going over the same ground as before. Rather, he's delving deeper into the areas he'd mapped out during last year...
While following the same general structure as the other soundscapes in the general time zone of this perfformance, this particular performance finds the heart of that structure and releases a fascinating interplay of tone and temperaments that is richer than others in the series.In Time Stands Still, Mr. Fripp gives an electric guitar solo that plainly paints an aching and longing picture of great beauty.The Queer Improv sections, more numerous (3) than on previous or following performance...
While following the same general structure as the other soundscapes in the general time zone of this perfformance, this particular performance finds the heart of that structure and releases a fascinating interplay of tone and temperaments that is richer than others in the series.In Time Stands Still, Mr. Fripp gives an electric guitar solo that plainly paints an aching and longing picture of great beauty.The Queer Improv sections, more numerous (3) than on previous or following performances, provide constrastive counterpoint to the more reflective sections. The three different modalities, and the sequence in which they are chosen, form a rich mixture and fasicinating rejoinders to the more contemplative sections. The choice of tones for the solo lines, typically dual in nature, are well chosen and provide interesting and palatable sensations for the sensitive ear. I particularly enjoyed the piano/guitar, very subtle in tone and it worked well with the melodic development.Future Shift makes good use of bell tones and other synthesized effects to transition into the awesome At The End of Time, a journey in its own right.The ending of this release is, indeed, abrupt, but I do note that the performance barely squeezes onto an audio CD, but it does and I am grateful.Well, a soundscape for the ages, which I will rank at the top with the World Trade Center soundscape and Mie Gakure, which are also paragons of this art form.
Written by Michael Millington
Broadchalk
Delightful. Buy this and the soundcheck. Of all the soundscape performances I have heard, this is my favorite. Everything really comes together. Of course, it is a little unsettling knowing that the performance was edited down a wee bit, but still. Very stunning.
Written by Robert Whitman
A Clean Transaction
More profound and beautiful music in the Soundscape series... I agree with the previous post that here Robert Fripp uncovers deeper implications of the ideas being revealed in the late 2005 performances. This may be off-topic but i hope the moderator will indulge a comment on the Soundscapes recordings for Microsoft, or direct it to its proper place. Those who appreciate Robert Fripp’s music should be glad anytime he can make, as he said, "a clean transaction" to do what he does. To ...
More profound and beautiful music in the Soundscape series... I agree with the previous post that here Robert Fripp uncovers deeper implications of the ideas being revealed in the late 2005 performances. This may be off-topic but i hope the moderator will indulge a comment on the Soundscapes recordings for Microsoft, or direct it to its proper place. Those who appreciate Robert Fripp’s music should be glad anytime he can make, as he said, "a clean transaction" to do what he does. To my mind it’s neither "evil" nor venal to accept a check from Microsoft in exchange for doing what you do well. Money gladly released in fair exchange for good work performed, with correct intent all around, can only be good. That’s why it’s called "kosher" money. It depends upon how it is earned and then spent or shared. Obviously, the input of money lets Fripp go on making this internal, not-extremely-commercial music. If the artist can prosper doing that, there’s little reason to take the other money, for example becoming a producer for some abysmal boy band or dance act, disappearing into the black hole of the ordinary music business as many artists do. I for one am happy for Robert Fripp that he doesn’t have to face that. Partisans of this or that computer, politico, etc. shouldn’t hope to enlist their favorite artists to prove what’s best and who’s right. I won’t say that the partisanship directly damages the art ... i either maintain my protective circle, or allow it to drop...in other words, either i use a certain quiet means to deflect the intrusion, or I let it find its mark in me via my reaction. Thus the decision to be damaged or not lies with the artist. But the fans should also leave their favorite artists out of all partisanry, if that’s a word in English... Some wish the Soundscapes collaboration had been with Apple, and indeed it would have made sense, if they had asked Fripp to do it. Meanwhile, resourceful users of non-MS computers can figure out how to use a tone probe as a system sound, and have that pleasure now. Thanks again Robert, and best wishes.
Written by Michael Flaherty
In Greater Depth
This time out, Robert is not opening for a rock concert, but playing in a church as a featured performer. This gives him more time to stretch out and develop the themes in greater depth. As another reviewer notes, some of this material was played in the December Suite, but much of it is quite different here. The December Suite was an interesting set of concerts that provided us with some great performances, but this set is ultimately a more realized statement of t...
This time out, Robert is not opening for a rock concert, but playing in a church as a featured performer. This gives him more time to stretch out and develop the themes in greater depth. As another reviewer notes, some of this material was played in the December Suite, but much of it is quite different here. The December Suite was an interesting set of concerts that provided us with some great performances, but this set is ultimately a more realized statement of the current Soundscapes.
