Robert Fripp (nacido el 16 de mayo de 1946) es un músico, compositor y productor de discos inglés, mejor conocido como el guitarrista, fundador y miembro más duradero de la banda de rock progresivo King Crimson . [1] Ha trabajado extensamente como músico de sesión y colaborador, en particular con David Bowie , Blondie , Brian Eno , Peter Gabriel , Daryl Hall , Midge Ure , Talking Heads y David Sylvian . También ha contribuido con sonidos al sistema operativo Windows Vista . [2] [3] Su discografía incluye contribuciones a más de 700 lanzamientos oficiales.
Robert Fripp | |
---|---|
Información de contexto | |
Nació | Wimborne Minster , Dorset , Inglaterra | 16 de mayo de 1946
Géneros | |
Ocupación (es) |
|
Instrumentos | |
Años activos | 1967-presente |
Etiquetas | |
Actos asociados | |
Sitio web | Robert Fripp |
Fripp ocupa el puesto 62 en la lista 2011 de la revista Rolling Stone de los 100 mejores guitarristas de todos los tiempos después de haber sido clasificado como 42 por David Fricke en su lista de 2003. [4] [5] Emparejado con Andrés Segovia , ocupa el puesto 47 en el Top 50 de guitarristas de Gibson de todos los tiempos. [6] Sus composiciones a menudo presentan firmas de tiempo inusuales , que han sido influenciadas por tradiciones clásicas y populares. Sus innovaciones incluyen un sistema de retardo de cinta conocido como "Frippertronics" y una nueva afinación estándar .
Vida temprana
Robert Fripp nació en Wimborne Minster , Dorset , Inglaterra, [1] el segundo hijo de una familia de clase trabajadora. Su madre Edith ( de soltera verde; 1914-1993) era de una familia minera de Gales. Sus ganancias por trabajar en la Oficina de Registros de Bournemouth le permitieron a su padre comenzar un negocio como agente inmobiliario. [7] En 1957, a los diez años, Fripp recibió una guitarra por Navidad de sus padres y recordó: "Casi de inmediato supe que esta guitarra iba a ser mi vida". [8] Luego tomó lecciones de guitarra de Kathleen Gartell y Don Strike; [9] a los 11 años, tocaba rock, pasando al jazz tradicional a los 13 y al jazz moderno a los 15. Citó a los músicos de jazz Charlie Parker y Charles Mingus como sus influencias musicales durante este tiempo.
En 1961, Fripp, de quince años, se unió a su primera banda, The Ravens, que también incluía a Gordon Haskell en el bajo. Después de que se separaron al año siguiente, Fripp se concentró en sus estudios de nivel O y se unió a la firma de su padre como negociador junior. En este punto, tenía la intención de estudiar administración de patrimonio y, finalmente, hacerse cargo del negocio de su padre. [8] Sin embargo, a los diecisiete años, Fripp decidió convertirse en músico profesional. Se convirtió en el guitarrista del grupo de jazz The Douglas Ward Trio, tocando en el Chewton Glen Hotel cerca de Bournemouth, seguido de una temporada en la banda de rock and roll The League of Gentlemen, que incluía a dos ex miembros de los Ravens.
En 1965, Fripp dejó el grupo para asistir a Bournemouth College , donde estudió economía, historia económica e historia política para sus niveles superiores. [10] Fue durante este tiempo cuando conoció a músicos con los que colaboraría en su carrera: John Wetton , Richard Palmer-James y Greg Lake . Posteriormente pasó tres años más tocando jazz ligero en la Majestic Dance Orchestra en el Bournemouth Majestic Hotel (reemplazando al futuro guitarrista de The Police Andy Summers , quien se había ido a Londres con Zoot Money ). [11] A los 21 años, volviendo a casa desde la universidad a altas horas de la noche, Fripp sintonizó Radio Luxemburg donde escuchó los últimos momentos de " Un día en la vida ". [8] "Galvanizado" por la experiencia, pasó a escuchar al sargento. Peppers Lonely Hearts Club Band , Béla Bartók 's cuartetos de cuerda , Antonín Dvořák ' s New World Symphony , Jimi Hendrix s' ¿Tiene experiencia y John Mayall & the Bluesbreakers . [8] Muchos años después, Fripp recordaría que "aunque todos los dialectos son diferentes, la voz era la misma ... Sabía que no podía decir que no". [8]
Carrera profesional
1967-1974: Giles, Giles y Fripp y King Crimson
En 1967, Fripp respondió a un anuncio colocado por los hermanos Peter y Michael Giles , nacidos en Bournemouth , que querían trabajar con un organista cantante. [8] Aunque Fripp no era lo que buscaban, su audición con ellos fue un éxito y el trío se mudó a Londres y se convirtió en Giles, Giles y Fripp . Su único álbum de estudio, La locura alegre de Giles, Giles y Fripp , fue lanzado en 1968. [12] A pesar del reclutamiento de dos miembros más: la cantante Judy Dyble (anteriormente con Fairport Convention y más tarde con Trader Horne ) y el multiinstrumentista Ian McDonald - Fripp sintió que estaba superando el enfoque pop excéntrico favorecido por Peter Giles (prefiriendo las composiciones más ambiciosas escritas por McDonald) y la banda se disolvió en 1968.
Casi de inmediato, Fripp, McDonald y Michael Giles formaron la primera alineación de King Crimson a mediados de 1968, reclutando al viejo amigo de Fripp en Bournemouth College, Greg Lake, como cantante principal y bajista, y al socio de escritura de McDonald's, Peter Sinfield, como letrista, diseñador de espectáculos de luces y en general. consultor creativo. El álbum debut de King Crimson, In the Court of the Crimson King , fue lanzado a finales de 1969 con gran éxito: basándose en ideas de rock, jazz y folk europeo / música clásica, es considerado como uno de los álbumes más influyentes en la historia de la música progresiva. roca . [13] La banda se inclinó hacia el estrellato, pero (debido a las crecientes diferencias musicales entre Fripp por un lado y Giles y McDonald por el otro) se separó al final de su primera gira estadounidense en 1969. Fripp, abatido, se ofreció a dejar el grupo. si permitiría que King Crimson sobreviviera; sin embargo, Giles y McDonald habían decidido de forma independiente que la música de la banda era "más de Fripp que de ellos" y que sería mejor si ellos fueran los que se fueran.
Durante la grabación del segundo álbum de la banda, In the Wake of Poseidon, Greg Lake partió para formar Emerson, Lake y Palmer , dejando a Fripp y Sinfield como los únicos miembros fundadores restantes. Lanzaron dos álbumes más ( Lizard and Islands ) y fueron las únicas constantes en una alineación de King Crimson que cambia regularmente. Incluyó (en varias ocasiones) a Gordon Haskell, el saxofonista / flautista Mel Collins , los bateristas Andy McCulloch e Ian Wallace y el futuro bajista de Bad Company Boz Burrell , además de una paleta de músicos invitados de Soft Machine , la banda de Keith Tippett , Hermandad del Aliento y Ciempiés . Fripp fue catalogado como el único compositor de la música de la banda durante este tiempo, que se basó en el modelo del primer álbum, pero avanzó más hacia el jazz rock y el free jazz, al tiempo que tomó forma a partir de los conceptos líricos y mitológicos esotéricos de Sinfield.
En 1971, Fripp derrocó a Sinfield y asumió el liderazgo de facto de King Crimson (aunque siempre ha rechazado formalmente la etiqueta, prefiriendo describir su papel como "control de calidad" o "una especie de pegamento"). A partir de ese momento, Fripp sería el único miembro constante de la banda, que a su vez se definiría principalmente por sus ideas compositivas y conceptuales (que se basaron en el jazz de vanguardia y la improvisación mezclada con una variedad de hard rock e influencias europeas, en particular la música de Béla Bartók ). Con el percusionista de vanguardia Jamie Muir , el violinista David Cross , el bajista cantante John Wetton y el ex baterista de Yes Bill Bruford ahora en las filas, King Crimson produjo tres álbumes más de rock innovador y cada vez más experimental, eliminando miembros a medida que progresaban: comenzando con Larks 'Tongues in Aspic , progresando con Starless y Bible Black y culminando en el trío de vanguardistas y emblemáticos álbumes Red . Fripp disolvió formalmente el grupo en 1974, en lo que finalmente resultó ser simplemente el primero de una serie regular de largas pausas y transformaciones posteriores. [14]
1974-1981: colaboraciones, proyectos paralelos y carrera en solitario
Fripp buscó proyectos paralelos durante los períodos menos activos de King Crimson. Trabajó con Keith Tippett (y otros que aparecían en los registros de King Crimson) en proyectos lejos de la música rock, jugando con la producción y el ciempiés 's Septober Energía en 1971 y Ovario Logia en 1973. Durante este período también trabajó con Van der Graaf Generator , tocando en el álbum de 1970 H to He, Who Am the Only One , y en 1971, en Pawn Hearts . Produjo Matching Mole 's juego de la pequeña Red Record de Mole en 1972. Antes de formar el Alondras -era KC, colaboró en un álbum de palabra hablada con una mujer a la que describe como 'una bruja', pero el resultado Robert Fripp y Walli Elmark : The Cosmic Children Of Love nunca se lanzó oficialmente.
Con Brian Eno , Fripp grabó (No Pussyfooting) en 1972 y Evening Star en 1974. Estos experimentaron con varias técnicas musicales de vanguardia que eran nuevas para el rock. Un sistema de retardo de cinta que utiliza máquinas de cinta Revox de doble bobina a bobina jugó un papel central en el trabajo posterior de Fripp, y se conoció como "Frippertronics".
En 1973, Fripp interpretó el solo de guitarra en " Baby's on Fire ", quizás la pista más conocida del debut en solitario de Eno, Here Come the Warm Jets . En 1975, Fripp y Brian Eno tocaron espectáculos en vivo en Europa, y Fripp también contribuyó con solos de guitarra en el emblemático álbum de Eno, Another Green World .
Fripp comenzó lo que se pretendía como un año sabático permanente de su carrera en 1975, durante el cual cultivó un interés en las enseñanzas de Gurdjieff a través de JG Bennett (estudios que luego serían influyentes en su trabajo con Guitar Craft ). Regresó al trabajo musical como guitarrista de estudio en el primer álbum homónimo de Peter Gabriel en 1976, lanzado al año siguiente. Fripp hizo una gira con Gabriel para apoyar el álbum, pero permaneció fuera de la vista (ya sea entre bastidores o detrás de una cortina) y utilizó el seudónimo de "Dusty Rhodes". [15]
Produjo y tocó en el segundo álbum de Gabriel en 1978. "Robert es particularmente hábil para mantener las cosas frescas, y eso me gusta mucho", dijo Gabriel entusiasmado. "Estaba muy interesado en el lado experimental de Robert; eso correspondía exactamente a lo que quería hacer en este segundo disco ... Hay dos solos (de Fripp) : uno en 'On the Air' y el otro en 'White Shadow'. Y luego toca en 'Exposure'. Le da el color a esta pieza, siendo el cincuenta por ciento responsable de su construcción. Y también toca la guitarra clásica aquí y allá. Es un músico al que admiro mucho, porque es uno de los únicos en mezcla disciplina y locura con tanto talento ". [dieciséis]
En 1977, Fripp recibió una llamada telefónica de Eno, que estaba trabajando en el álbum "Heroes" de David Bowie . Fripp y Eno habían colaborado en un álbum lanzado en 1975 llamado Evening Star . En este álbum, en particular 'An Index of Metals', hay variedades que influirían en el proyecto Bowie dos años más tarde, en particular en su segunda cara. La interpretación de Fripp en Heroes inició una serie de colaboraciones con otros músicos. Fripp pronto colaboró con Daryl Hall en Sacred Songs .
Durante este período, Fripp comenzó a trabajar en material en solitario, con contribuciones de la poeta / letrista Joanna Walton y varios otros músicos, incluidos Eno, Gabriel y Hall (incluido el socio de este último, John Oates), así como Peter Hammill , Jerry Marotta , Phil Collins , Tony Levin y Terre Roche . Este material finalmente se convirtió en su primer álbum en solitario, Exposure , lanzado en 1979, seguido de la gira Frippertronics en el mismo año.
Mientras vivía en Nueva York, Fripp contribuyó a álbumes y actuaciones en vivo de Blondie ( Parallel Lines ) y Talking Heads ( Fear of Music ), y produjo el primer y tercer álbum de The Roches, que incluía varios de los característicos solos de guitarra de Fripp. Una segunda serie de sesiones creativas con David Bowie produjo partes de guitarra distintivas en Scary Monsters (y Super Creeps) (1980) y, antes de eso, el tercer álbum en solitario de Peter Gabriel conocido como Melt . Con Blondie, Fripp apareció en vivo en el escenario de Hammersmith Odeon el 12 de enero de 1980 participando en la versión de la banda de " 'Heroes ' " de Bowie . Esta grabación estaba en el sencillo de 12 "de Atomic lanzado el mismo año y más tarde apareció como un bonus track en las ediciones de CD del álbum Eat to the Beat de Blondie .
La colaboración de Fripp con el bajista Busta Jones , el baterista Paul Duskin y la voz de David Byrne (Byrne acreditado como Absalm el Habib) produjo God Save the Queen / Under Heavy Manners al año siguiente. Simultáneamente reunió lo que llamó una "banda de baile instrumental de nueva ola de gira de segunda división" [17] bajo el nombre de League of Gentlemen , con el bajista Sara Lee , el teclista Barry Andrews y el baterista Johnny Elichaoff (acreditado como "Johnny Toobad"). Elichaoff fue reemplazado más tarde por Kevin Wilkinson. El LOG estuvo de gira durante 1980.
En 1985 produjo el álbum Journey to Inaccessible Places del pianista clásico Elan Sicroff , editado en el sello Editions EG . [18]
1981-1984: reforma de King Crimson
1981 vio la formación de una nueva formación de King Crimson, reuniendo a Fripp con el baterista Bill Bruford y abriendo una nueva asociación con dos músicos estadounidenses: el bajista / jugador de Chapman Stick Tony Levin (que había tocado con Fripp en Exposure y en la primera gira de Peter Gabriel banda) y Adrian Belew , un cantante y guitarrista que previamente había tocado con Bowie, Talking Heads y Frank Zappa . Aunque la banda había sido conceptualizada bajo el nombre Discipline, Fripp llamó la atención de que los otros miembros pensaban que el nombre King Crimson era más apropiado: para Fripp, King Crimson siempre había sido "una forma de hacer las cosas" en lugar de un grupo particular de músicos. , y el grupo actual sintió que su música capturaba esa metodología. Con Belew más inspirado en el pop como compositor principal (complementando a Fripp como compositor instrumental principal) la banda adoptó un nuevo estilo incorporando un minimalismo continuo inspirado en gamelan , influencias neoyorquinas desde el post-punk hasta el go-go [ cita requerida ] , y experimentos texturizados con sintetizadores de guitarra. Después de lanzar tres álbumes ( Discipline , Beat , Three of a Perfect Pair ), este nuevo King Crimson se separó en 1984.
Durante este período, Fripp grabó dos discos con su viejo amigo Andy Summers de The Police . En I Advance Masked , Fripp y Summers tocaron todos los instrumentos. Bewitched estuvo más dominado por Summers, quien produjo el disco y colaboró con otros músicos además de Fripp.
En 1982 Fripp produjo y tocó la guitarra en Keep on Doing de The Roches. Como en su participación anterior en Scary Monsters (y Super Creeps) de David Bowie (que también contó con Pete Townshend y Chuck Hammer en el sintetizador de guitarra ), el estilo y sonido de guitarra distintivo de Fripp que caracterizó su música de este período se presenta junto con las canciones de las hermanas y armonía. [ cita requerida ]
Artesanía de guitarra
A Fripp se le ofreció un puesto de profesor en la Sociedad Estadounidense para la Educación Continua (ASCE) en Claymont Court, West Virginia en 1984. Había estado involucrado con la ASCE desde 1978, y finalmente sirvió en su junta directiva, y había estado considerando la idea durante mucho tiempo. de enseñar guitarra. Su curso, Guitar Craft, se inició en 1985, una rama del cual fue un grupo de interpretación, " The League of Crafty Guitarists ", que ha lanzado varios álbumes. En 1986, lanzó la primera de dos colaboraciones con su esposa, Toyah Willcox . Los miembros del California Guitar Trio son ex miembros de The League of Crafty Guitarists y también han estado de gira con King Crimson. Fripp es el patrón del Guitar Circle of Europe , que fue fundado en 2007, [20] y de la Seattle Circle Guitar School , que fue fundada en 2010. [21]
En febrero de 2009, Fripp recomendó que Guitar Craft dejara de existir en su 25º aniversario en 2010. [22]
Paisajes sonoros
Fripp volvió a grabar en solitario en 1994, utilizando una versión actualizada de la técnica Frippertronics que crea bucles empleando tecnología digital en lugar de cintas analógicas. Fripp ha lanzado una serie de discos que llamó "paisajes sonoros", incluidos 1999 , Radiophonics , A Blessing of Tears , That Which Passes , November Suite , The Gates of Paradise , Love Cannot Bear y At the End of Time , así como numerosos grabaciones en vivo de solo descarga. (La muestra Pie Jesu consta de material compilado de A Blessing of Tears y The Gates of Paradise ).
Colaboraciones de la década de 1990 con David Sylvian y otros
Las colaboraciones de Fripp con David Sylvian incluyen algunas de sus formas de tocar la guitarra más exuberantes. Fripp contribuyó a la pista de veinte minutos de Sylvian "Steel Cathedrals" de su álbum Alchemy: An Index of Posssibility de 1985. Luego, Fripp actuó en varias pistas del lanzamiento de Sylvian de 1986, Gone to Earth .
A finales de 1991, Fripp le había pedido a Sylvian que se uniera a King Crimson como vocalista. [23] Sylvian declinó la invitación, pero propuso una posible colaboración entre los dos que eventualmente se convertiría en una gira por Japón e Italia en la primavera de 1992.
También en 1991, Fripp lanzó un álbum con el proyecto Sunday All Over The World, también con su esposa Toyah Willcox, el ex miembro de League of Crafty Guitarists Trey Gunn en Chapman Stick y el baterista Paul Beavis. El nombre anterior de esta banda era Fripp Fripp, y realizaron una gira como tal en 1988. Cambiaron el nombre a SAOTW, y realizaron una gira nuevamente como SAOTW, en 1989. [24]
En julio de 1993, Sylvian y Fripp lanzaron el esfuerzo colaborativo The First Day . Otros contribuyentes fueron Trey Gunn en Chapman Stick y Jerry Marotta (quien, como Sylvian, casi se convirtió en miembro de King Crimson) en la batería. Cuando el grupo realizó una gira para promocionar el CD, el futuro miembro de King Crimson, Pat Mastelotto, se hizo cargo del lugar de la batería. El documento en vivo Damage fue lanzado en 1994, al igual que la empresa conjunta, Redemption - Approaching Silence , que presentaba las esculturas de sonido ambiental de Sylvian (Approaching Silence) acompañando a Fripp leyendo su propio texto (Redemption). [23]
A principios y mediados de la década de 1990, Fripp contribuyó con guitarra / paisajes sonoros a Lifeforms (1994) de Future Sound of London y Cydonia (lanzado en 2001) de Orb , así como FFWD , un esfuerzo de colaboración con los miembros de este último. Además, Fripp trabajó con Brian Eno co-escribiendo y suministrando guitarra a dos pistas para un proyecto de CD-ROM lanzado en 1994 titulado Headcandy creado por Chris Juul y Doug Jipson. Eno pensó que los aspectos visuales del disco (efectos de retroalimentación de video) fueron muy decepcionantes al finalizar y lamentó la participación. Durante este período, Fripp también contribuyó a álbumes de No-Man and the Beloved ( Flowermouth de 1994 y X de 1996 , respectivamente). También contribuyó con paisajes sonoros y guitarra a dos álbumes de la banda británica Iona : Beyond These Shores de 1993 y Journey into the Morn de 1996 .
King Crimson redux (1994-2010)
A finales de 1994, Fripp volvió a formar la formación de 1981 de King Crimson para su quinta encarnación, añadiendo a Trey Gunn y al baterista Pat Mastelotto en una configuración conocida como el "trío doble" (la formación incluía dos guitarras, dos bajo / Palillos y dos bateristas). Esta formación lanzó el EP VROOOM en 1994 y el álbum Thrak en 1995.
Though musically (and relatively commercially) successful, the double-trio King Crimson proved difficult to sustain in the long-term. From 1997 to 1999, the band "fraKctalised" into five experimental instrumental sub-groups known as ProjeKcts. By 1998 Bruford had quit the band altogether: in 2000, Fripp, Belew, Gunn and Mastelotto reunited as a four-piece King Crimson (minus Levin, who was busy with session work). This lineup produced two studio albums, the construKction of light in 2000 and The Power to Believe in 2003, which took on a more metallic, heavily electronic approach. Gunn departed at the end of 2003.
Although Levin immediately returned to the band, another hiatus followed until King Crimson reappeared in 2007 with a second drummer - Gavin Harrison of Porcupine Tree - appended to the lineup, This version of the band played a brief eastern USA tour in 2008, reassessing its 1981-2003 back catalogue and approach and introducing lengthy percussion duets between the two drummers. No new original material was recorded, and in 2010, Fripp announced that King Crimson were on another indefinite hiatus.[25]
Recent work: G3, Porcupine Tree, Slow Music, Theo Travis, The Humans, Jakko Jakszyk, Others
During 2004, Fripp toured with Joe Satriani and Steve Vai as the guitar trio G3. He also worked at Microsoft's studios to record new sounds and atmospheres for Windows Vista.[26][27]
Fripp's online diary at dgmlive.com[28]
In late 2005 and early 2006, Fripp joined sometime R.E.M./Nine Inch Nails drummer Bill Rieflin's improvisational Slow Music project, along with guitarist Peter Buck, Fred Chalenor (acoustic bass), Matt Chamberlain (drums) and Hector Zazou (electronics). This collective of musicians toured the west coast of America in May 2006.
In 2006 Fripp contributed his composition "At The End Of Time" to the Artists for Charity album Guitarists 4 the Kids, produced by Slang Productions, to assist World Vision Canada in helping underprivileged children.[29] Throughout 2006, Fripp would perform many solo concerts of soundscapes in intimate settings in churches around England and Estonia.[30] In October 2006, ProjeKct Six (Robert Fripp, Adrian Belew) played at select venues on the east coast of the U.S.,[31] opening for Porcupine Tree. In the same year, Fripp contributed soundscapes to two songs for Porcupine Tree's Fear of a Blank Planet - "Way Out of Here" and "Nil Recurring," the second of which was released in September 2007 as part of the Nil Recurring EP. Fripp also sporadically performed Soundscapes as an opening act for Porcupine Tree on various tours from 2006 through 2009.
In 2008, Fripp collaborated with Theo Travis on an album of guitar and flute-or-saxophone duets called 'Thread', and the duo played a brief English tour in 2009 (repeating the collaboration with the Follow album in 2012). Also in 2009, Fripp played a concert with the band The Humans (which consists of his wife Toyah Willcox, Bill Rieflin and Chris Wong), appeared on Judy Dyble's Talking With Strangers (along with Pat Mastelotto and others) and played on two tracks on Jakko Jakszyk's album The Bruised Romantic Glee Club. In 2010, Fripp contributed a guitar solo to an extended version of the song 'Heathen Child' by Grinderman, released as a B-side on the 'Super Heathen Child' single.
A Scarcity of Miracles, musical 'retirement' and new lineup of King Crimson
In May 2011, Jakko Jakszyk, Robert Fripp and Mel Collins released a song album called A Scarcity of Miracles: A King Crimson ProjeKct on the Panegyric label. The album also featured contributions by Tony Levin and Gavin Harrison, leading to speculation that the project was a dry run for a new King Crimson.
In an interview published 3 August 2012, Fripp stated that he had retired from working as a professional musician, citing long-standing differences with Universal Music Group and stating that working within the music industry had become "a joyless exercise in futility".[32][33][34] This retirement proved to be short-lived, lasting as long as it took to come to a settlement with UMG.
In his online diary entry for 6 September 2013, Fripp announced the return of King Crimson as a seven-piece unit with "four Englishmen and three Americans". The new lineup was Fripp, Levin, both Mastelotto and Harrison on drums, returning 1970s band member Mel Collins and two new members: Jakko Jakszyk as singer and second guitarist, and Bill Rieflin as a third drummer.[35] This version of the band went on tour in 2014 and 2015 with a setlist reworking and reconfiguring the band's 1960s and 1970s material (plus songs from A Scarcity of Miracles and new compositions). In early 2016, it was announced that former Lemon Trees/Beady Eye drummer Jeremy Stacey would substitute for Rieflin on that year's tour while the latter was on sabbatical. King Crimson has since continued touring as a seven- or eight-piece unit with Stacey as a permanent member on drums and keyboards, plus Rieflin (when available) on keyboards and "fairy dusting." Rieflin last played with Crimson on the 2018 tours; he died 24 March 2020.
Equipo
During the early years of King Crimson (1968–74), Fripp used two Gibson Les Paul guitars from 1957 and 1959. The '57 guitar featured three humbucker pick-ups (with one volume control on the pickguard controlling the middle pick-up). In the band's 1980s era, he favored Roland GR-303 & GR-808 guitars for both straight guitar and synth control. In subsequent years, Fripp has used customized Les Paul-style guitars by Tokai, 48th St Custom, and Fernandes (the latter being his current choice).
A signature model named for the guitarist (Crimson Guitars Robert Fripp Signature)[36] features Fernandes Sustainer and MIDI pickups with a Les Paul-style Body. A significant difference from the Gibson Les Paul is that the signature model is built using a deep set neck tenon rather than a traditional set neck.
Fripp recommended that Guitar Craft students adopt the Ovation 1867 Legend steel-string guitar, which had a shallow body.[37][38] "Fripp liked the way the Ovation 1867 fitted against his body, which made it possible for him to assume the right-arm picking position he had developed using electric guitars over the years; on deeper-bodied guitars, the Frippian arm position is impossible without uncomfortable contortions", according to Tamm.[37] While the 1867 Legend is no longer manufactured, it influenced the design of the Guitar Craft Pro Model of Guitar Craft Guitars, which has been endorsed by Fripp.[39]
Técnica de guitarra
Fripp began playing guitar at the age of eleven.[40] When he started, he was tone deaf and had no rhythmical sense, weaknesses which led him later to comment "Music so wishes to be heard that it sometimes calls on unlikely characters to give it voice."[41] He was also naturally left-handed but opted to play the guitar right-handed.[42]
While being taught guitar basics by his teacher Don Strike,[43][44] Fripp began to develop the technique of crosspicking, which became one of his specialities.[43] Fripp teaches crosspicking to his students in Guitar Craft.[45]
In 1985, Fripp began using a tuning he called "New Standard tuning"[46] (C2-G2-D3-A3-E4-G4), which would also become popularised in Guitar Craft.[47]
Fripp's guitar technique, unlike most rock guitarists of his era, is not blues-based but rather influenced by avant-garde jazz and European classical music. He combines rapid alternate picking and crosspicking with motifs employing whole-tone or diminished pitch structures and sixteenth-note patterns for long stretches in a form called moto perpetuo (perpetual motion).[46]
Rather than stand when performing, he seats himself on a stool (unusual for a performer in rock music), and by doing so was called in a May 1974 issue of Guitar Player "the guitarist who sits on stage."[48]
Comentarios de otros artistas
Many artists have cited Fripp as an influence or have expressed their admiration for him, including Steven Wilson,[49] Omar Rodríguez-López,[50] Trey Anastasio of Phish,[51] St. Vincent,[52] Kirk Hammett of Metallica,[53] Michael Angelo Batio,[54] Geoff Tate of Queensrÿche,[55] Nels Cline of Wilco,[56] Adam Jones of Tool,[57] Merzbow,[58] Vernon Reid of Living Colour,[59] Ben Weinman of The Dillinger Escape Plan,[60][61] Paul Masvidal of Cynic,[62] Steve Stevens of Billy Idol,[63] Chris Haskett of Rollins Band,[64] Ivar Bjørnson of Enslaved,[65] Dylan Carlson of Earth,[66] Dan Briggs,[67] Denis "Piggy" D'Amour of Voivod,[68] Daniel Mongrain,[69] Marcus Henderson,[70] Paul Lemos of Controlled Bleeding,[71] Richard Pinhas,[72] Nick Reinhart of Tera Melos,[73] Leopold Ross,[74] electronic musician Rustie,[75] film director Hal Hartley,[76] and Sean Beavan.[77]
Vida personal
Fripp married singer and actress Toyah Willcox on 16 May 1986 in Poole, Dorset, England.[78] From December 1987 until July 1999 they lived at and renovated Reddish House, the former home of Cecil Beaton, in the village of Broad Chalke in Wiltshire.[79][80]
Fripp previously lived at Thornhill Cottage, Holt, Dorset (1971-1980) and Fernhill House, Witchampton (1980-1987).[81] After Reddish House, the couple lived at Evershot Old Mansion (1999-2001). They then moved to their present home in Pershore, Worcestershire.[81][82] The couple have no children and have arranged their will so as to leave their entire fortune to the establishment of a musical educational trust for children.[83]
Fripp is the patron of the Seattle Circle Guitar School in the United States and the Shallal Dance Theatre in Penzance, England.[21] He also has had engagements as a motivational speaker, often at events with his sister Patricia,[84] who is a keynote speaker and speech coach.[85]
Alfie Fripp, the last of the "39ers", shot down by the Luftwaffe and then held in 12 different POW camps during World War II, was his uncle.[86]
Fripp is a pescetarian.[87]
During the COVID-19 lockdowns, Fripp and Willcox uploaded many short, humorous videos to YouTube,[88] usually covers of well-known songs, and mostly titled Toyah and Robert's Sunday Lunch.
Premios y honores
Asteroid 81947 Fripp, discovered by Marc Buie at Cerro Tololo in 2000, was named in his honor.[89] The official naming citation was published by the Minor Planet Center on 18 May 2019 (M.P.C. 114955).[90]
Disciplina Global Mobile
In 1992, Fripp and producer/online content developer David Singleton co-founded Discipline Global Mobile (DGM) as an independent music label. DGM releases music by Fripp, KC, related acts, and other artists in CDs and in downloadable files. A 1998 Billboard profile stated that DGM had ten staff-members in Salisbury (England) and Los Angeles (USA). DGM has an aim "to be a model of ethical business in an industry founded on exploitation, oiled by deceit, riven with theft and fueled by greed."[91] DGM insists that its artists retain all copyrights; consequently, even DGM's "knotwork" corporate-logo (pictured above) is owned by its designer, Steve Ball;[92][93] the "knotwork" logo appeared earlier on the cover of later versions of the Discipline album. DGM's aims were called "exemplary" by Bill Martin (1997), who wrote that "Fripp has done something very important for the possibilities of experimental music" in creating DGM, which "has played a major role in creating favorable conditions for" King Crimson.[94]
DGM publishes an on-line diary by Fripp, who often comments on performances and on relations with fans. A moderated forum allows fans to ask questions or to leave comments. Together, Fripp's diary and the fan forum display delayed dialogs in which Fripp and fans discuss diary-entries and forum-postings.[95]
Copyright complaints against Grooveshark
In 2011, Fripp complained that the music-distribution service Grooveshark continued to stream his music despite his having delivered repeated takedown notices. Fripp and Grooveshark's correspondence was published by Digital Music News[96][97][98] and in his diaries,[99] which appear on the website of Discipline Global Mobile.[95]
Fripp's published exchange was included in a suit against Grooveshark by Universal Music Group, which was filed in November 2011.[96][100] UMG cited internal documents revealing that Grooveshark employees uploaded thousands of illegal copies of UMG-owned recordings.[100] Fripp had previous experience protecting his music in litigation with music companies.[101]
Discografia
Fripp has been extremely active as a recording musician and a producer. He has contributed to more than 700 official releases. The Robert Fripp Discography Summary, compiled by John Relph, also lists 120 compilations and 315 unauthorised releases (such as bootlegs). This means that more than 1100 releases (including both official and unofficial ones, as well as both studio and live recordings) can be found with Fripp participating. Studio releases are listed here.
Giles, Giles & Fripp
- 1968 : The Cheerful Insanity of Giles, Giles and Fripp
- 2001 : The Brondesbury Tapes
- 2001 : Metaphormosis
Solo
Studio albums
- 1979 : Exposure
- 1980 : God Save the Queen/Under Heavy Manners
- 1981 : Let the Power Fall: An Album of Frippertronics
- 1998 : The Gates Of Paradise
Live albums
- 1994 : 1999: Soundscapes Live in Argentina
- 1995 : Radiophonics: 1995 Soundscapes volume 1
- 1995 : A Blessing of Tears: 1995 Soundscapes volume 2
- 1996 : That Which Passes: 1995 Soundscapes volume 3
- 1998 : November Suite
- 2005 : Love Cannot Bear
- 2007 : At the End of Time: Churchscapes Live in England & Estonia
Brian Eno
- 1973 : (No Pussyfooting)
- 1974 : Here Come the Warm Jets
- 1975 : Evening Star
- 1975 : Another Green World
- 1994 : The essential Fripp & Eno
- 1998 : Lightness: For The Marble Palace
- 2004 : The Equatorial Stars
- 2007 : Beyond Even (1992-2006)
David Bowie
- 1977 : "Heroes"
- 1980 : Scary Monsters (and Super Creeps)
David Sylvian
- 1986 : Gone to Earth
- 1993 : The First Day
- 1993 : Darshan (The Road To Graceland)
- 1994 : Damage: Live
Andy Summers
- 1982 : I Advance Masked
- 1984 : Bewitched
- 1984 : Andy Summers & Robert Fripp Speak Out - Promo album
The League of Gentlemen
- 1981 : The League of Gentlemen
- 1996 : Thrang Thrang Gozinbulx
The League of Crafty Guitarists
- 1986 : The League of Crafty Guitarists Live !
- 1991 : Live II
- 1991 : A show of hands
- 1995 : Intergalactic Boogie Express
Theo Travis
- 2008 : Thread
- 2012 : Follow
- 2012 : Discretion
Soundscapes
- 1994 : 1999 Soundscapes: Live in Argentina
- 1995 : A Blessing of Tears: 1995 Soundscapes, Vol. 2
- 1996 :: Radiophonics: 1995 Soundscapes, Vol. 1
- 1996 : That Which Passes: 1995 Soundscapes, Vol. 3
- 1997 : November Suite: Soundscapes - Live at Green Park Station 1996
Other recordings
- 1981 : The Warner Brothers Music Show - The Return Of King Crimson (interviews with music inserts)
- 1985 : Network (EP, compilation)
- 1986 : The Lady or the Tiger (With Toyah Willcox)
- 1991 : Kneeling at the Shrine (With Sunday All Over the World)
- 1993 : The Bridge Between (With The Robert Fripp String Quintet)
- 1994 : FFWD (With The Orb)
- 1999 : The Repercussions of Angelic Behavior (With Bill Rieflin & Trey Gunn)
- 2000 : A Temple in the Clouds (With Jeffrey Fayman)
- 2007 : Robert Fripp : Unplugged - 3 CD Box-set
- 2011 : A Scarcity of Miracles (With Mel Collins & Jakko Jakszyk)
- 2012 : The Wine of Silence (With Andrew Keeling, David Singleton & Metropole Orkest)
- 2015 : Starless Starlight : David Cross & Robert Fripp
Collaborations
- 1970 : H to He, Who Am the Only One : Van der Graaf Generator[102]
- 1971 : Pawn Hearts : Van der Graaf Generator
- 1971 : Fools Mate : Peter Hammill
- 1971 : Septober Energy : Centipede
- 1972 : Blueprint : Keith Tippett
- 1972 : Matching Mole's Little Red Record : Matching Mole
- 1973 : Ovary Lodge : Keith Tippett
- 1977 : Peter Gabriel I : Peter Gabriel
- 1978 : Parallel Lines : Blondie
- 1978 : Peter Gabriel II : Peter Gabriel
- 1979 : Fear of Music : Talking Heads
- 1979 : The Roches : The Roches
- 1980 : Sacred Songs : Daryl Hall
- 1980 : Peter Gabriel III : Peter Gabriel
- 1982 : Keep on doing : The Roches
- 1985 : Alchemy: An Index of Possibilities : David Sylvian
- 1986 : Gone to earth : David Sylvian
- 1987 : Couple in Spirit : Keith Tippett and Julie Tippetts
- 1993 : Beyond These Shores : Iona
- 1994 : Sidi Mansour : Rimitti
- 1994 : Flowermouth : No Man
- 1994 : Battle Lines : John Wetton
- 1995 : Cheikha Rimitti Featuring Robert Fripp and Flea : Cheikha [Unreleased Tracks From The Sidi Mansour Album]
- 1996 : The Woman's Boat : Toni Childs
- 1998 : Arkangel : John Wetton
- 1999 : Birth of a Giant : Bill Rieflin
- 1999 : Approaching Silence : David Sylvian
- 2000 : Everything and Nothing : David Sylvian
- 2001 : Sinister : John Wetton
- 2001 : The Thunderthief : John Paul Jones (musician)
- 2002 : Trance Spirits : Steve Roach & Jeffrey Fayman With Robert Fripp & Momodou Kah
- 2002 : Camphor : David Sylvian
- 2006 : Side three : Adrian Belew
- 2011 : Raised in captivity : John Wetton
Production
- 1971 : Septober Energy : Centipede
- 1972 : Matching Mole's Little Red Record : Matching Mole
- 1972 : Blueprint : Keith Tippett
- 1973 : Ovary Lodge : Ovary Lodge - With Keith Tippett, Roy Babbington, etc.
- 1978 : Peter Gabriel : Peter Gabriel
- 1979 : The Roches : The Roches
- 1980 : Sacred Songs : Daryl Hall
- 1991 : The California Guitar Trio : The California Guitar Trio - Executive producer
- 1995 : Intergalactic Boogie Express : Coproducer.
- 1998 : Pathways : California Guitar Trio - Executive producer
Ver también
- List of ambient music artists
Notas
- ^ a b Colin Larkin, ed. (1997). The Virgin Encyclopedia of Popular Music (Concise ed.). Virgin Books. pp. 493/4. ISBN 1-85227-745-9.
- ^ "Robert Fripp - Behind the scenes at Windows Vista recording session". Microsoft. Retrieved 13 August 2017.
- ^ Veitch, Martin (10 November 2006). "Robert Fripp's Vista sounds are here". The Inquirer. Retrieved 13 August 2017.
- ^ Panel of experts (2012). "100 greatest guitarists". Rolling Stone. (subscription required). Retrieved 3 October 2012.
- ^ Fricke, David (17 September 2003). "100 greatest guitarists of all time: David Fricke's picks". Rolling Stone. Retrieved 13 October 2012.
- ^ Drozdowski, Ted (24 May 2010). "Gibson.com Top 50 guitarists of all time–50 to 41". Besides Ted Drozdowski, a panel of other experts and readers. Gibson.com. Archived from the original on 30 May 2010. Retrieved 3 June 2010.
- ^ Fripp, Robert (1995). "Basis of Eulogy for Edie Fripp delivered at Wimborne Minster on July 30th. 1993 during the service to celebrate her life and commemorate her death.". A Blessing of Tears: 1995 Soundscapes - Volume Two - Live in California (Media notes). Discipline Global Mobile. DGM 9506.
- ^ a b c d e f "Robert Fripp: New York•Wimborne". Late Night in Concert. 1985. BBC Television. BBC Two.
- ^ "Interview with Robert Fripp in Rock and Folk - ETWiki". Elephant-talk.com. Retrieved 11 October 2019.
- ^ "Friday, 15th February 2008". Robert Fripp's Diary. San Francisco: Discipline Global Mobile. Archived from the original on 31 May 2016. Retrieved 27 April 2016.
- ^ Sid Smith. In the Court of King Crimson. London: Helter Skelter Publishing, 2002, pp. 16-18.
- ^ Cheerful Insanity of Giles Giles & Fripp. "Cheerful Insanity of Giles Giles & Fripp: Music". Retrieved 27 December 2012.
- ^ DigitalDreamDoor.com. "100 Greatest Progressive Rock Albums". Retrieved 5 May 2020.
- ^ "The day the music died". Financial Times.
- ^ "Robert Fripp Discography: Other Unauthorized Releases". Elephant-talk.com. Archived from the original on 11 October 2007. Retrieved 19 February 2012.
- ^ Best magazine, May 1978; translated in Gabriel fanzine White Shadow (#1, pp13) by editor Fred Tomsett
- ^ Deming, Mark. "Robert Fripp: Biography". Allmusic.com. Retrieved 21 May 2020.
- ^ "Elan Sicroff".
- ^ Tamm (2003, p. 127)
- ^ Guitar Circle of Europe. "Home". Guitar Circle of Europe. Archived from the original on 16 December 2011. Retrieved 19 November 2011. Cite journal requires
|journal=
(help) - ^ a b Fripp, Robert. "A Few Words from the Patron". Seattle Circle Guitar School. Retrieved 19 November 2011. Cite journal requires
|journal=
(help) - ^ "Saturday, 14th February 2009". Robert Fripp's Diary. Bredonborough: Discipline Global Mobile. Archived from the original on 18 February 2012. Retrieved 19 February 2012.
- ^ a b "Sylvian & Fripp Reissued". DGM Live. 13 June 2014. Retrieved 6 October 2017.
- ^ "Sunday All Over The World". Discogs.com. Retrieved 8 February 2019.
- ^ "Sunday, 5th December 2010". Robert Fripp's Diary. New York City: Discipline Global Mobile. Archived from the original on 27 September 2013. Retrieved 16 July 2011.
- ^ "Robert Fripp-Behind the scenes at Windows Vista recording session". Channel 9. Microsoft. 12 January 2006. Retrieved 29 April 2006.
- ^ "Making Windows Vista sing: Robert Fripp and the Vista melody". Channel 9. Microsoft. 2 March 2007.
- ^ "Saturday, 8th November 2008". Robert Fripp's Diary. Redmond: Discipline Global Mobile. Archived from the original on 9 January 2014.
- ^ "Slang Productions - Guitarists 4 the Kids". Slang Productions. 11 September 2006. Retrieved 30 March 2014.
- ^ Fripp, Robert (30 March 2007). "Robert Fripp's Diary: DGM HQ". dgmlive.com.
- ^ "News". Dgmlive.com. Retrieved 19 February 2012.
- ^ Hunter, Ludovic (3 August 2012). "The day the music died". FT.com. Retrieved 27 December 2012.
- ^ "Robert Fripp quit music | DPRP News Blog". Dprp.net. 4 September 2012. Retrieved 27 December 2012.
- ^ "King Crimson's Robert Fripp Quits Music Biz | Rock News | News". Planet Rock. 7 September 2012. Retrieved 27 December 2012.
- ^ "Friday, 6th September 2013". Robert Fripp's Diary. Bredonborough: Discipline Global Mobile. Archived from the original on 28 March 2014. Retrieved 24 September 2013.
- ^ "Robert Fripp Guitars | CrimsonGuitars.com | the gallery". CrimsonGuitars.com. Archived from the original on 25 November 2011. Retrieved 19 February 2012.
- ^ a b Tamm (2003, p. 130)
- ^ Fripp, Robert (2004). An introduction to Guitar Craft. Guitar Craft Monographs. Guitar Craft. Archived from the original on 5 August 2004. Retrieved 26 October 2011.
- ^ "| | | Guitar Craft Guitars | | |". Guitarcraftguitars.com. Retrieved 11 October 2019.
- ^ "Robert Fripp bio". Dgmlive.com. Retrieved 19 February 2012.
- ^ Tamm (2003, p. 16, "Chapter two: The guitarist and the practice of music")
- ^ Sid Smith. In the Court f King Crimson. London: Helter Skelter Publishing, 2002, p.15
- ^ a b Tamm (2003, p. 14)
- ^ "History of the Guitar Craft Plectrum", by Steve Ball, SteveBall.com
- ^ Tamm (2003, pp. 137 and 141 (Chapter 10))
- ^ a b Baldwin, Douglas (November 2007). "Guitar Heroes: How to Play Like 26 Guitar Gods from Atkins to Zappa", edited by Jude Gold and Matt Blackett, Guitar Player p.111.
- ^ Tamm (2003, pp. 134, 142, 148 (Chapter 10); c.f. pp. 160, 4)
- ^ "Interview with Robert Fripp in Guitar Player (1974) - ETWiki". Elephant-talk.com. Retrieved 11 October 2019.
- ^ Prasad, Anil (2010). "Porcupine Tree | Dream logic". Innerviews. Retrieved 20 February 2017.
Fripp is my number one influence, no question. [...] When I was very young and first heard those King Crimson records, I would think “That’s just wrong. You’re playing the guitar wrong, mate!” But the more you start to listen to Fripp’s playing, the more you appreciate his choices of notes. Fripp is a very unique man and his guitar playing reflects that. He doesn’t pick notes in any sort of logical way, but he plays them with conviction. He blew my mind open when I heard his solos on King Crimson’s “A Sailor’s Tail” and Brian Eno’s “Baby’s on Fire.” Just extraordinary stuff. I’ll never be able to play like that because you have to have the mind of Fripp to do that, but there is certainly an influence from him in terms of choosing unique notes and making them sound beautiful.
- ^ Larzen, Geir. "Mars Volta". MonsterMagazine.no (in Norwegian). Archived from the original on 14 February 2005. Retrieved 20 February 2017.
Q: Dette til tross, du kan ikke nekte for å være utpreget influert av King Crimson og Robert Fripp.
Omar Rodríguez-López: Selvfølgelig ikke! Jeg gjør faktisk ingen forsøk på å skjule min affekt for Fripps arbeider. [...] ble jeg introdusert for King Crimson, og på nytt kollapset alt, men på en konstruktiv måte. [...] Fripp tryllet i alle fall fram de vakreste toner jeg hadde hørt, og han kunne ikke ha gitt seg til kjenne på et mer gunstig tidspunkt i mitt liv. [...] Ingen kan nekte for at Robert Fripp, også helt tidlig i karrieren, var opptatt av jazz eller de blå notene. Durskalaer og oppstemte gjengroprefrenger har aldri appellert til meg, så da King Crimson ble meg til del var det som å smake på en bit av himmelriket.
(Q: You can't deny that you're influenced by Robert Fripp and King Crimson, right?
Omar Rodríguez-López: No, of course not! I make no attempt to hide my affection for Fripps work. [...] I was introduced to King Crimson and again everything collapsed, but in a constructive way. [...] Fripp made the most beautiful notes that I had heard, and he couldn't have been introduced to me at a better time in my life. [...] As soon as someone discovers jazz, it will influence their approach irrespective of which style or band the person concerned contributes to. It can't be denied that Robert Fripp was into jazz throughout his career or the blue notes. The major-scales and euphoric stadium-rock choruses have never appealed to me so when I got familiar with King Crimson's music it was like getting a taste of heaven.) - ^ "Phish Scales: Trey Anastasio Breaks Down His Improvisation Techniques". Guitar World. New York City. 30 September 2013. Retrieved 24 February 2017.
I’m a big fan of Robert Fripp [guitarist and founder of Sixties/Seventies progressive rock masters King Crimson—GW Ed.], and I still love a lot of his stuff. I was especially into his work with Brian Eno, on albums such as Another Green World, and I was really into King Crimson’s Larks Tongues in Aspic, which is one of my all-time favorite albums. I like Red, too. Then there’s the stuff he did later for his Discipline Records label. The "patterny" thing that Fripp is known for had a big influence on me.
- ^ Jim (20 January 2017). "Video: Annie Clark of St. Vincent Talks Gear and Influence at NAMM 2017" (video). Reverb.com. Event occurs at 1:34. Retrieved 24 March 2017.
- ^ Gore, Joe (1 October 1996). "Kirkus Maximus: The Expanding World of Kirk Hammett". Guitar Player. Vol. 30 no. 10. pp. 58–62, 66.
Interviewer: In the past it was always riffs front and center, interspersed with hard solos. Now you explore the middle ground and distance with coloristic parts that are neither monster riffs nor flashy solos.
Kirk Hammett: There are fewer 30-part orchestrated guitar sections, fewer massive, bludgeoning riffs perfectly replicated by lames. There are more flexible ideas, more artistic flourishes, more colors. I've probably been influenced in that direction by people like Robert Fripp, Adrian Belew and David Torn. I'm more interested in using guitar sounds as textures and using effects in a more textural fashion. To paraphrase Robert Fripp, I'm more interested in painting a soundscape like he and Adrian Belew do in King Crimson, on Bowie records and in Fripp's solo stuff. Fripp is one of the most interesting guitar players I've ever heard--and I've just discovered him! - ^ Pusey, Andre (1 December 2011). "World's Fastest Guitarist Michael Angelo Batio: "I Absolutely Love What I Do"". Theedgesusu.co.uk. Retrieved 23 February 2017.
[...] A few years after that, I was really influenced by Al DiMeola, Robert Fripp, John McLaughlin and keyboardist Keith Emerson.
- ^ Schwartz, Greg M. "Revolution Now | An Interview with Queensryche". PopMatters. Retrieved 15 April 2017.
- ^ Erickson, Anne (15 April 2010). "Interview: Nels Cline". Premier Guitar. Retrieved 13 March 2017.
- ^ Angle, Brad (15 January 2015). "Tool's Adam Jones: My 10 Favorite Guitarists". Guitar World. Retrieved 20 February 2017.
Fripp’s playing caused me to “wake up” to music when I was younger.
- ^ Hensley, Chad (1999). "The Beauty of Noise: An interview with Masami Akita of Merzbow". EsoTerra. Retrieved 19 April 2017.
- ^ "Interview:Musician's Friend's Artist Spotlight Exclusive Interview- A conversation with Vernon Reid". www.musiciansfriend.com. 27 July 2010. Retrieved 26 April 2017.
[...] Robert Fripp is definitely another one who I would consider an influence.
- ^ Rosen, Steven (23 June 2014). "Ben Weinman: 'Guitarists Are Not Creative Anymore - They're Playing Around With Presets'". Ultimate Guitar. Retrieved 20 February 2017.
[...] when I got into more technical guitar playing and things like that, I jumped right to fusion. So things like Crimson and stuff like that. [...] I was really heavily into Robert Fripp [...]
- ^ Massie, Andrew (15 July 2015). "The Rockpit interviews - BEN WEINMAN - DILLINGER ESCAPE PLAN". The Rockpit. Retrieved 20 February 2017.
I guess some of my biggest influences are people like John Mclaughlin from Mahavishnu Orchestra, Robert Fripp from King Crimson [...]
- ^ Laci, David (April 2005). "Interview with Paul Masvidal - Mirgilus Siculorum". EmptyWords.org. Retrieved 21 February 2017.
[...] At the time I wrote the introduction to "Textures", I was a big fan of Robert Fripp and his Crafty League of Guitarists records. I later learned about King Crimson having that side too, because of Robert's influence. All that counterpoint madness he wrote was brilliant. Also the use of loops and ambient environments as backdrops to these sonically beautiful pieces. Much of our progressive jazz/fusion influences found their way into the songs in the form of our chord choices and harmony.
- ^ "Steve Stevens-The Korea Guitar Interview". koreaguitar1.wordpress.com. 17 October 2014. Retrieved 8 March 2017.
[...] For me, people are surprised to know, my true guitar heroes were Robert Fripp and Steve Howe and guys who were playing all different styles within the context of a rock band. I always loved the idea of how they approached guitar, which is to orchestrate the song with different guitar sounds and different guitar styles. [...]
- ^ "INTERVIEW. 041 - Chris Haskett (Rollins Band)". Thisisfubarproductions.tumblr.com. 2012. Retrieved 23 February 2017.
[...] the biggest ones that influenced the playing I did in the Rollins Band would have to be the “Red/Starless & Bible Black/Lark’s Tongue”-era King Crimson work of Fripp [...]
- ^ Benek (11 May 2013). "Enslaved Interview". Metalist.co.il. Retrieved 25 February 2017.
- ^ Hughes, Rob (September 2014). "My Prog Hero: Dylan Carlson". Prog. No. 49. TeamRock.com (published 28 October 2014). Retrieved 4 April 2017.
- ^ "New "What's In My Bag?" Episode With Dan Briggs of Between the Buried and Me" (video). Amoeba.com. Los Angeles, California: Amoeba Music (published 5 February 2014). 3 February 2014. Event occurs at 1:32. Retrieved 31 August 2017.
Robert Fripp is one of the biggest inspirations on me as a musician, someone who's had a career since the 60s and he's like constantly been an innovator, constantly pushing himself, trying new things, just constant source of inspiration [...]
- ^ Williams, Rob (29 July 2009). "Metal legends still soldiering on four years after guitarist's death". Winnipeg Free Press. Barcelona, Spain. Retrieved 25 February 2017.
[...] They are very Voivodian and we can tell the influences of Piggy more than (his work for) Voivod. He was an Alex Lifeson fan, and a fan of Robert Fripp [...]
- ^ Ben (13 January 2003). "Entretien avec Daniel le 13 janvier 2003 (par Ben)". Grimparacelse.free.fr (in French). Retrieved 25 February 2017.
Mes guitaristes préférés sont Allan Holdsworth, Jason Becker, Piggy (Denis D'amour, VOIVOD), Marty Friedman, Devin Townsend, Robert Fripp [...] (My favorite guitarists are Allan Holdsworth, Jason Becker, Piggy (Denis D'amour, VOIVOD), Marty Friedman, Devin Townsend, Robert Fripp.)
- ^ Adel, Mohamed (25 January 2014). "Exclusive: An Interview with Guitar Hero Lead Guitarist "Marcus Henderson"". Rockeramagazine.com. Retrieved 23 February 2017.
I have so many favorite guitar players; Piggy from Voivod, Randy Rhoads, Robert Fripp, Ty Tabor, Dime, I can't list them all here but they continue to shape my playing and note choices long after they have turned off their amps.
- ^ "Controlled Bleeding's Paul Lemos Discusses the Ten Albums that Most Influenced Him". Heathen Harvest. 30 June 2016. Retrieved 2 March 2017.
- ^ Walcroft, Justin (2 November 2016). "The Way Forward: An Interview With Electronic Music Pioneer Richard Pinhas". subrewind.com. Washington, D.C. Archived from the original on 4 November 2016. Retrieved 7 March 2017.
Q: Who were your guitar influences?
Richard Pinhas: [...] As a music composer, it would be Robert Fripp and King Crimson, yet I was more incensed by [Fripp & Eno's] Evening Star and the first one, No Pussyfooting. [...] - ^ "Guitarist Interview with Nick Reinhart of Tera Melos". QRD. Silbermedia.com. August 2010. Retrieved 20 February 2017.
- ^ Schultz, Scott (9 September 2009). "IO ECHO: GOT ME A GUN FOR CHRISTMAS". L.A. Record. Retrieved 5 March 2017.
Q: What is your favorite David Bowie period?
Leopold Ross: Scary Monsters could rival Master of Puppets as my favorite album ever. What I like about that is that without a blueprint, it’s just really weird music. Robert Fripp is an astonishingly good guitar player. Just doing the wierdest shit. You listen to the guitar in ‘Fashion’ and you’re like, ‘What the fuck is that?’ He played on Scary Monsters, Low and I think Lodger as well. Low is one of my favorite albums ever. - ^ "Five minutes with… Rustie". Fact. 5 October 2010. Retrieved 13 March 2017.
- ^ Schamus, James (Fall 1992). "THE SIMPLE LAWS OF FILMMAKING". Filmmaker. Retrieved 12 March 2017.
Hal Hartley: I made a list of all the influences I could remember from the time I was 18 to the present. Here it goes: Robert Fripp and King Crimson [...]
- ^ DeRosa, Nicole (12 October 2015). "Q&A with Musician + Record Producer – SEAN BEAVAN – Talks "Death Valley", Working with MARILYN MANSON, TRENT REZNOR and More". music.allaccess.com. Retrieved 5 March 2017.
- ^ "Marriages England and Wales 1984–2005". Findmypast.com. Retrieved 19 February 2012.
- ^ "Wednesday, 4th April 2007". Robert Fripp's Diary. Salisbury: Discipline Global Mobile. Archived from the original on 7 June 2011. Retrieved 9 November 2008.
- ^ Broad Chalke, A History of a South Wiltshire Village, its Land & People Over 2,000 years. By 'The People of the Village', 1999
- ^ a b Fripp, Robert (29 April 2020). "Robert Fripp's Diary: Bredonborough". dgmlive.com.
- ^ Moss, Chris (11 October 2014). "Eckington Manor, Pershore, Worcestershire: hotel review". The Guardian.
- ^ "Toyah Willcox: I've had a facelift... now I want a tummy tuck and my boobs removed because I can't bear them". Evening Standard. 12 June 2008.
- ^ "Robert Fripp Speaking Engagements – articles, interviews and links". Robertfrippspeaks.com. 19 February 2008. Archived from the original on 18 July 2012. Retrieved 19 February 2012.
- ^ "Patricia Fripp & Associates: Experts in Presentation Skills". Fripp.com. 4 June 1912. Retrieved 19 February 2012.
- ^ "Sunday, 11th November 2012". Robert Fripp's Diary. Bredonborough: Discipline Global Mobile. Archived from the original on 11 January 2014. Retrieved 4 January 2013.
- ^ "2 July 2003". Robert Fripp's Diary. DGMLive.com. Barcelona. 12 December 2004. Archived from the original on 2 April 2015. Retrieved 9 August 2016.
Nowadays I accept that, properly put, I am a fishetarian...
- ^ "Robert Fripp Was 'F—ing Furious' Over First Viral Video". Ultimate Classic Radio. Retrieved 7 February 2021.
- ^ "81947 Fripp (2000 OF69)". Minor Planet Center. Retrieved 3 June 2019.
- ^ "MPC/MPO/MPS Archive". Minor Planet Center. Retrieved 3 June 2019.
- ^ "About DGM". dgmlive.com. Retrieved 1 February 2021.
- ^ "King Crimson - Absent Lovers". shop.schizoidshop.com. Retrieved 1 February 2021.
- ^ Hegarty & Halliwell (2011, "Illustration credits: Chapter 9", p. xii)
- ^ Martin (1997, p. 269)
- ^ a b Atton (2001, p. 43): Atton, Chris (2001). "'Living in the Past'?: Value discourses in progressive rock fanzines". Popular Music. Cambridge University Press. 20 (1): 29–46. doi:10.1017/S0261143001001295. JSTOR 853693.
- ^ a b Sisario, Ben (14 December 2011). "Sony and Warner are said to sue web music service". New York Times. Retrieved 30 May 2012.
- ^ Peoples, Glenn (21 November 2011). "Grooveshark Lawsuit Reveals Details of Universal Music Group's Allegations". billboard.com. Retrieved 5 February 2021.
- ^ Abonalla, Rochell (13 October 2011). "King Crimson Can't Get Their Music Off of Grooveshark. So They cc'd Digital Music News…". Digital Music News. Retrieved 1 February 2021.
- ^ Smith, Sid (1 May 2015). "Going, Going, Grooveshark Gone". dgmlive.com.
- ^ a b Lawsuit claims Grooveshark workers posted 100,000 pirated songs. Greg Sandoval, CNET, 21 November 2011
- ^ Bruford (2009, p. 142): Bruford, Bill (2009). Bill Bruford: The autobiography: Yes, King Crimson, Earthworks, and more. Jawbone Press. ISBN 978-1-906002-23-7.
- ^ H to He, Who Am the Only One (Media notes). Charisma Records. CAS 1027.
Referencias
- Hegarty, Paul; Halliwell, Martin (25 August 2011). Beyond and before: Progressive rock since the 1960s. Continuum. ISBN 978-0-8264-4075-4.
- Martin, Bill (1997). Listening to the future: The time of progressive rock, 1968–1978. Open Court. p. 376. ISBN 0-8126-9368-X.
- Tamm, Eric (2003) [1990]. Robert Fripp: From crimson king to crafty master (Progressive Ears ed.). Faber and Faber (1990). ISBN 0-571-16289-4. Zipped Microsoft Word Document. Archived from the original on 26 October 2011. Retrieved 26 October 2011.
Otras lecturas
- Fripp, Robert (2011). Pozzo, Horacio (ed.). Seven Guitar Craft themes: Definitive scores for guitar ensemble. "Original transcriptions by Curt Golden", "Layout scores and tablatures: Ariel Rzezak and Theo Morresi" (First limited ed.). Partitas Music. ISMN 979-0-9016791-7-7. DGM Sku partitas001.
- Smith, Sid (2001). In the court of King Crimson. Helter Skelter Publishing. ISBN 1-900924-26-9.
enlaces externos
- Discipline Global Mobile, DGM (2012). "Welcome to DGM Live". Discipline Global Mobile. DGM is an independent music and merchandise label that was founded by Fripp; DGM features the music of Fripp and King Crimson amid other artists. It also contains tour information, Robert Fripp's diary, and more. Retrieved 25 February 2012.
- Fripp, Patricia (2012). "Robert Fripp speaking engagements". San Francisco, CA: A Speaker for All Reasons. Retrieved 25 February 2012.