Robert Fripp

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For the architect, see Robert McKay Fripp. Robert Fripp_sentence_0

Robert Fripp_table_infobox_0

Robert FrippRobert Fripp_header_cell_0_0_0
Background informationRobert Fripp_header_cell_0_1_0
BornRobert Fripp_header_cell_0_2_0 (1946-05-16) 16 May 1946 (age 74)

Wimborne Minster, Dorset, EnglandRobert Fripp_cell_0_2_1

GenresRobert Fripp_header_cell_0_3_0 Robert Fripp_cell_0_3_1
Occupation(s)Robert Fripp_header_cell_0_4_0 Robert Fripp_cell_0_4_1
InstrumentsRobert Fripp_header_cell_0_5_0 Robert Fripp_cell_0_5_1
Years activeRobert Fripp_header_cell_0_6_0 1967–presentRobert Fripp_cell_0_6_1
LabelsRobert Fripp_header_cell_0_7_0 Robert Fripp_cell_0_7_1
Associated actsRobert Fripp_header_cell_0_8_0 Robert Fripp_cell_0_8_1
WebsiteRobert Fripp_header_cell_0_9_0 Robert Fripp_cell_0_9_1

Robert Fripp (born 16 May 1946) is an English musician, songwriter, and record producer, best known as the guitarist, founder and longest-lasting member of the progressive rock band King Crimson. Robert Fripp_sentence_1

He has worked extensively as a session musician and collaborator, notably with David Bowie, Blondie, Brian Eno, Peter Gabriel, Daryl Hall, Midge Ure and David Sylvian. Robert Fripp_sentence_2

He has also contributed sounds to the Windows Vista operating system. Robert Fripp_sentence_3

His discography includes contributions to over 700 official releases. Robert Fripp_sentence_4

He is ranked 62nd on Rolling Stone magazine's 2011 list of the 100 Greatest Guitarists of All Time after having been ranked by David Fricke 42nd on its 2003 list. Robert Fripp_sentence_5

Tied with Andrés Segovia, he also is ranked 47th on Gibson's Top 50 guitarists of all time. Robert Fripp_sentence_6

His compositions often feature unusual time signatures, which have been influenced by classical and folk traditions. Robert Fripp_sentence_7

His innovations include a tape delay system known as "Frippertronics" and new standard tuning. Robert Fripp_sentence_8

Early life Robert Fripp_section_0

Robert Fripp was born in Wimborne Minster, Dorset, England, the second child of a working class family. Robert Fripp_sentence_9

His mother Edith (née Green; 1914–1993) was from a Welsh mining family. Robert Fripp_sentence_10

Her earnings from working at the Bournemouth Records Office allowed his father to start a business as an estate agent. Robert Fripp_sentence_11

In 1957, at age ten, Fripp received a guitar for Christmas from his parents and recalled: "Almost immediately I knew that this guitar was going to be my life". Robert Fripp_sentence_12

He then took guitar lessons from Kathleen Gartell and Don Strike; at age 11, he was playing rock, moving on to traditional jazz at 13 and modern jazz at 15. Robert Fripp_sentence_13

He cited jazz musicians Charlie Parker and Charlie Mingus as his musical influences during this time. Robert Fripp_sentence_14

In 1961, the fifteen-year-old Fripp joined his first band, The Ravens, which also included Gordon Haskell on bass. Robert Fripp_sentence_15

After they split in the following year, Fripp concentrated on his O-level studies and joined his father's firm as a junior negotiator. Robert Fripp_sentence_16

At this point, he intended to study estate management and eventually, take over his father's business. Robert Fripp_sentence_17

However, at seventeen, Fripp decided to become a professional musician. Robert Fripp_sentence_18

He became the guitarist in the jazz outfit The Douglas Ward Trio, playing in the Chewton Glen Hotel near Bournemouth, followed by a stint in the rock and roll band The League of Gentlemen which included two former Ravens members. Robert Fripp_sentence_19

In 1965, Fripp left the group to attend Bournemouth College, where he studied economics, economic history, and political history for his A-levels. Robert Fripp_sentence_20

It was during this time when he met musicians that he would collaborate with in his career: John Wetton, Richard Palmer-James, and Greg Lake. Robert Fripp_sentence_21

He subsequently spent three further years playing light jazz in the Majestic Dance Orchestra at the Bournemouth Majestic Hotel (replacing future The Police guitarist Andy Summers, who had gone off to London with Zoot Money). Robert Fripp_sentence_22

At age 21, going back home from college late at night, Fripp tuned on to Radio Luxemburg where he heard the last moments of "A Day in the Life". Robert Fripp_sentence_23

"Galvanized" by the experience, he went on to listen to Sgt. Robert Fripp_sentence_24 Pepper's Lonely Hearts Club Band, Béla Bartók's string quartets, Antonín Dvořák's New World Symphony, Jimi Hendrix's Are You Experienced and John Mayall & the Bluesbreakers. Robert Fripp_sentence_25

Many years later, Fripp would recall that "although all the dialects are different, the voice was the same... Robert Fripp_sentence_26

I knew I couldn't say no". Robert Fripp_sentence_27

Career Robert Fripp_section_1

1967–1974: Giles, Giles and Fripp and King Crimson Robert Fripp_section_2

In 1967, Fripp responded to an advertisement placed by Bournemouth-born brothers Peter and Michael Giles, who wanted to work with a singing organist. Robert Fripp_sentence_28

Though Fripp was not what they sought, his audition with them was a success and the trio relocated to London and became Giles, Giles and Fripp. Robert Fripp_sentence_29

Their only studio album, The Cheerful Insanity of Giles, Giles and Fripp, was released in 1968. Robert Fripp_sentence_30

Despite the recruitment of two further members – singer Judy Dyble (formerly with Fairport Convention and later of Trader Horne) and multi-instrumentalist Ian McDonald – Fripp felt that he was outgrowing the eccentric pop approach favoured by Peter Giles (preferring the more ambitious compositions being written by McDonald) and the band broke up in 1968. Robert Fripp_sentence_31

Almost immediately, Fripp, McDonald and Michael Giles formed the first lineup of King Crimson in mid-1968, recruiting Fripp's old Bournemouth College friend Greg Lake as lead singer and bass player, and McDonald's writing partner Peter Sinfield as lyricist, light show designer and general creative consultant. Robert Fripp_sentence_32

King Crimson's debut album, In the Court of the Crimson King, was released in late 1969 to great success: drawing on rock, jazz and European folk/classical music ideas, it is regarded as one of the most influential albums in the history of progressive rock. Robert Fripp_sentence_33

The band was tipped for stardom but (due to growing musical differences between Fripp on one side and Giles and McDonald on the other) broke up at the end of its first American tour in 1969. Robert Fripp_sentence_34

A despondent Fripp offered to leave the group if it would allow King Crimson to survive; however, Giles and McDonald had independently decided that the band's music was "more Fripp's than theirs" and that it would be better if they were the ones to leave. Robert Fripp_sentence_35

During the recording of the band's second album In the Wake of Poseidon Greg Lake departed to form Emerson, Lake and Palmer, leaving Fripp and Sinfield as the only remaining founder members. Robert Fripp_sentence_36

They issued two more albums (Lizard and Islands) and were the only constants in a regularly changing King Crimson lineup. Robert Fripp_sentence_37

It included (at various times) Gordon Haskell, saxophonist/flute player Mel Collins, drummers Andy McCulloch and Ian Wallace and future Bad Company bass player Boz Burrell, in addition to a palette of guest players from Soft Machine, Keith Tippett's band, Brotherhood of Breath and Centipede. Robert Fripp_sentence_38

Fripp was listed as the sole composer of the band's music during this time, which built on the first album's blueprint but progressed further into jazz rock and free jazz while also taking form from Sinfield's esoteric lyrical and mythological concepts. Robert Fripp_sentence_39

In 1971, Fripp ousted Sinfield and took over de facto leadership of King Crimson (although he has always formally rejected the label, preferring to describe his role as "quality control" or "a kind of glue"). Robert Fripp_sentence_40

From this point onwards, Fripp would be the only constant member of the band, which in turn would be defined primarily by his compositional and conceptual ideas (which drew on avant-garde jazz and improvisation mixed with a variety of hard rock and European influences, in particular the music of Béla Bartók). Robert Fripp_sentence_41

With avant-garde percussionist Jamie Muir, violinist David Cross, singing bass player John Wetton and former Yes drummer Bill Bruford now in the ranks, King Crimson produced three more albums of innovative and increasingly experimental rock, shedding members as they progressed: beginning with Larks' Tongues in Aspic, progressing with Starless and Bible Black and culminating in the benchmark avant-power trio album Red. Robert Fripp_sentence_42

Fripp formally disbanded the group in 1974, in what eventually turned out to be merely the first in a regular series of long hiatuses and further transformations. Robert Fripp_sentence_43

1974–1981: Collaborations, side projects, and solo career Robert Fripp_section_3

Fripp pursued side projects during King Crimson's less active periods. Robert Fripp_sentence_44

He worked with Keith Tippett (and others who appeared on King Crimson records) on projects far from rock music, playing with and producing Centipede's Septober Energy in 1971 and Ovary Lodge in 1973. Robert Fripp_sentence_45

During this period he also worked with Van der Graaf Generator, playing on the 1970 album H to He, Who Am the Only One, and in 1971, on Pawn Hearts. Robert Fripp_sentence_46

He produced Matching Mole's Matching Mole's Little Red Record in 1972. Robert Fripp_sentence_47

Prior to forming the Larks-era KC, he collaborated on a spoken-word album with a woman he described as "a witch", but the resulting Robert Fripp & Walli Elmark: The Cosmic Children Of Love was never officially released. Robert Fripp_sentence_48

With Brian Eno, Fripp recorded (No Pussyfooting) in 1972, and Evening Star in 1974. Robert Fripp_sentence_49

These experimented with several avant-garde musical techniques that were new to rock. Robert Fripp_sentence_50

A tape delay system using dual reel-to-reel Revox tape machines played a central role in Fripp's later work, and became known as "Frippertronics". Robert Fripp_sentence_51

In 1973, Fripp performed the guitar solo on "Baby's on Fire", perhaps the best-known track on Eno's solo debut Here Come the Warm Jets. Robert Fripp_sentence_52

In 1975, Fripp and Brian Eno played live shows in Europe, and Fripp also contributed guitar solos to Eno's landmark album, Another Green World. Robert Fripp_sentence_53

Fripp started what was intended as a permanent sabbatical from his career in 1975, during which he cultivated an interest in the teachings of Gurdjieff via J. Robert Fripp_sentence_54 G. Bennett (studies which would later be influential in his work with Guitar Craft). Robert Fripp_sentence_55

He returned to musical work as a studio guitarist on Peter Gabriel's first self-titled album in 1976, released the following year. Robert Fripp_sentence_56

Fripp toured with Gabriel to support the album, but remained out of sight (either in the wings or behind a curtain) and used the pseudonym "Dusty Rhodes". Robert Fripp_sentence_57

He produced and played on Gabriel's second album in 1978. Robert Fripp_sentence_58

"Robert is particularly skilful at keeping things fresh, and I like that a lot," Gabriel enthused. Robert Fripp_sentence_59

"I was very interested in Robert's experimental side; that corresponded exactly to what I wanted to do on this second record… There are two (Fripp) solos: one on 'On the Air' and the other on 'White Shadow'. Robert Fripp_sentence_60

And then he plays on 'Exposure'. Robert Fripp_sentence_61

He gives the colour to this piece, being fifty per cent responsible for its construction. Robert Fripp_sentence_62

And he also plays classical guitar here and there. Robert Fripp_sentence_63

He's a musician I admire a lot, because he's one of the only ones to mix discipline and madness with so much talent." Robert Fripp_sentence_64

In 1977, Fripp received a phone call from Eno, who was working on David Bowie's album "Heroes". Robert Fripp_sentence_65

Fripp and Eno had collaborated on an album released in 1975 called Evening Star. Robert Fripp_sentence_66

On this album – particularly 'An Index of Metals' – are strains that would influence the Bowie project two years later, notably its second side. Robert Fripp_sentence_67

Fripp's playing on Heroes initiated a series of collaborations with other musicians. Robert Fripp_sentence_68

Fripp soon collaborated with Daryl Hall on Sacred Songs. Robert Fripp_sentence_69

During this period, Fripp began working on solo material, with contributions from poet/lyricist Joanna Walton and several other musicians, including Eno, Gabriel, and Hall (including the latter's partner, John Oates), as well as Peter Hammill, Jerry Marotta, Phil Collins, Tony Levin and Terre Roche. Robert Fripp_sentence_70

This material eventually became his first solo album, Exposure, released in 1979, followed by the Frippertronics tour in the same year. Robert Fripp_sentence_71

While living in New York, Fripp contributed to albums and live performances by Blondie (Parallel Lines) and Talking Heads (Fear of Music), and produced The Roches' first and third albums, which featured several of Fripp's characteristic guitar solos. Robert Fripp_sentence_72

A second set of creative sessions with David Bowie produced distinctive guitar parts on Scary Monsters (and Super Creeps) (1980) and prior to that, Peter Gabriel's third solo album known as Melt. Robert Fripp_sentence_73

With Blondie, Fripp appeared live on stage at Hammersmith Odeon on 12 January 1980 participating in the band's cover version of Bowie's "'Heroes'". Robert Fripp_sentence_74

This recording was on the 12" single of Atomic released the same year and later turned up as a bonus track on CD pressings of Blondie's album Eat to the Beat. Robert Fripp_sentence_75

Fripp's collaboration with bassist Busta Jones, drummer Paul Duskin, and vocals by David Byrne (Byrne credited as Absalm el Habib) produced God Save the Queen/Under Heavy Manners in the following year. Robert Fripp_sentence_76

He simultaneously assembled what he called a "second-division touring new wave instrumental dance band" under the name League of Gentlemen, with bassist Sara Lee, keyboardist Barry Andrews and drummer Johnny Elichaoff (credited as "Johnny Toobad"). Robert Fripp_sentence_77

Elichaoff was later replaced by Kevin Wilkinson. Robert Fripp_sentence_78

The LOG toured for the duration of 1980. Robert Fripp_sentence_79

In 1985 he produced the album Journey to Inaccessible Places by classical pianist Elan Sicroff, released on the Editions E.G. label. Robert Fripp_sentence_80

1981–1984: Reforming King Crimson Robert Fripp_section_4

1981 saw the formation of a new King Crimson lineup, reuniting Fripp with drummer Bill Bruford and opening a new partnership with two American musicians: bass guitarist/Chapman Stick player Tony Levin (who had played with Fripp on Exposure and in the first Peter Gabriel touring band) and Adrian Belew, a singer and guitarist who had previously played with Bowie, Talking Heads and Frank Zappa. Robert Fripp_sentence_81

Although the band had been conceptualised under the name Discipline it came to Fripp's attention that the other members thought the name King Crimson was more appropriate: for Fripp, King Crimson had always been "a way of doing things" rather than a particular group of musicians, and the current group felt that their music captured that methodology. Robert Fripp_sentence_82

With the more pop-inspired Belew as main songwriter (complementing Fripp as main instrumental composer) the band took on a new style incorporating a gamelan-inspired continuo minimalism, New York influences from post-punk to go-go, and textured experiments with guitar synthesizers. Robert Fripp_sentence_83

After releasing three albums (Discipline, Beat, Three of a Perfect Pair), this new King Crimson broke up in 1984. Robert Fripp_sentence_84

During this period Fripp made two records with his old friend Andy Summers of The Police. Robert Fripp_sentence_85

On I Advance Masked, Fripp and Summers played all the instruments. Robert Fripp_sentence_86

Bewitched was dominated more by Summers, who produced the record and collaborated with other musicians in addition to Fripp. Robert Fripp_sentence_87

In 1982 Fripp produced and played guitar on Keep on Doing by The Roches. Robert Fripp_sentence_88

As in his previous guesting on David Bowie's Scary Monsters (and Super Creeps) (which also featured Pete Townshend and Chuck Hammer on guitar synthesizer), Fripp's distinctive guitar style and sound that characterised his music of this period is featured alongside the sisters' songs and harmony. Robert Fripp_sentence_89

Guitar Craft Robert Fripp_section_5

Main article: Guitar Craft Robert Fripp_sentence_90

Fripp was offered a teaching position at the American Society for Continuous Education (ASCE) in Claymont Court, West Virginia in 1984. Robert Fripp_sentence_91

He had been involved with the ASCE since 1978, eventually serving on its board of directors, and had long been considering the idea of teaching guitar. Robert Fripp_sentence_92

His course, Guitar Craft, was begun in 1985, an offshoot of which was a performance group, "The League of Crafty Guitarists", which has released several albums. Robert Fripp_sentence_93

In 1986, he released the first of two collaborations with his wife, Toyah Willcox. Robert Fripp_sentence_94

The members of the California Guitar Trio are former members of The League of Crafty Guitarists and have also toured with King Crimson. Robert Fripp_sentence_95

Fripp is the patron of the Guitar Circle of Europe, which was founded in 2007, and of the Seattle Circle Guitar School, which was founded in 2010. Robert Fripp_sentence_96

In February 2009, Fripp recommended that Guitar Craft cease to exist on its 25th anniversary in 2010. Robert Fripp_sentence_97

Soundscapes Robert Fripp_section_6

Fripp returned to recording solo in 1994, using an updated version of the Frippertronics technique that creates loops employing digital technology instead of analogue tapes. Robert Fripp_sentence_98

Fripp has released a number of records that he called "soundscapes", including 1999, Radiophonics, A Blessing of Tears, That Which Passes, November Suite, The Gates of Paradise, Love Cannot Bear and At the End of Time, as well as numerous download-only live recordings. Robert Fripp_sentence_99

(The sampler Pie Jesu consists of material compiled from A Blessing of Tears and The Gates of Paradise.) Robert Fripp_sentence_100

1990s collaborations with David Sylvian and others Robert Fripp_section_7

Fripp's collaborations with David Sylvian feature some of his most exuberant guitar playing. Robert Fripp_sentence_101

Fripp contributed to Sylvian's twenty-minute track "Steel Cathedrals" from his Alchemy: An Index of Possibilities album of 1985. Robert Fripp_sentence_102

Then Fripp performed on several tracks from Sylvian's 1986 release, Gone to Earth. Robert Fripp_sentence_103

In late 1991, Fripp had asked Sylvian to join a re-forming King Crimson as a vocalist. Robert Fripp_sentence_104

Sylvian declined the invitation, but proposed a possible collaboration between the two that would eventually become a tour of Japan and Italy in the spring of 1992. Robert Fripp_sentence_105

Also in 1991, Fripp released an album with the project Sunday All Over The World, also featuring his wife Toyah Willcox, former League of Crafty Guitarists member Trey Gunn on Chapman Stick, and drummer Paul Beavis. Robert Fripp_sentence_106

The prior name of this band was Fripp Fripp, and they toured as such in 1988. Robert Fripp_sentence_107

They renamed to SAOTW, and toured again as SAOTW, in 1989. Robert Fripp_sentence_108

In July 1993, Sylvian and Fripp released the collaborative effort The First Day. Robert Fripp_sentence_109

Other contributors were soon-to-be King Crimson member Trey Gunn on Chapman Stick and Jerry Marotta (who, like Sylvian, almost became a member of King Crimson) on drums. Robert Fripp_sentence_110

When the group toured to promote the CD, future King Crimson member Pat Mastelotto took over the drumming spot. Robert Fripp_sentence_111

The live document Damage was released in 1994, as was the joint venture, Redemption – Approaching Silence, which featured Sylvian's ambient sound sculptures (Approaching Silence) accompanying Fripp reading his own text (Redemption). Robert Fripp_sentence_112

During the early and mid-1990s Fripp contributed guitar/soundscapes to Lifeforms (1994) by the Future Sound of London and Cydonia (released 2001) by the Orb, as well as FFWD, a collaborative effort with the latter's members. Robert Fripp_sentence_113

In addition, Fripp worked with Brian Eno co-writing and supplying guitar to two tracks for a CD-ROM project released in 1994 entitled Headcandy created by Chris Juul and Doug Jipson. Robert Fripp_sentence_114

Eno thought the visual aspects of the disc (video feedback effects) were very disappointing upon completion, and regretted participation. Robert Fripp_sentence_115

During this period, Fripp also contributed to albums by No-Man and the Beloved (1994's Flowermouth and 1996's X, respectively). Robert Fripp_sentence_116

He also contributed soundscapes and guitar to two albums by the UK band Iona: 1993's Beyond These Shores and 1996's Journey into the Morn. Robert Fripp_sentence_117

King Crimson redux (1994-2010) Robert Fripp_section_8

In late 1994, Fripp re-formed the 1981 line-up of King Crimson for its fifth incarnation, adding Trey Gunn and drummer Pat Mastelotto in a configuration known as the "double trio" (the line-up included two guitars, two bass/Stick players and two drummers). Robert Fripp_sentence_118

This line-up released the VROOOM EP in 1994, and the Thrak album in 1995. Robert Fripp_sentence_119

Though musically (and relatively commercially) successful, the double-trio King Crimson proved difficult to sustain in the long-term. Robert Fripp_sentence_120

From 1997 to 1999, the band "fraKctalised" into five experimental instrumental sub-groups known as ProjeKcts. Robert Fripp_sentence_121

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). Robert Fripp_sentence_122

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. Robert Fripp_sentence_123

Gunn departed at the end of 2003. Robert Fripp_sentence_124

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. Robert Fripp_sentence_125

No new original material was recorded, and in 2010, Fripp announced that King Crimson were on another indefinite hiatus. Robert Fripp_sentence_126

Recent work: G3, Porcupine Tree, Slow Music, Theo Travis, The Humans, Jakko Jakszyk, Others Robert Fripp_section_9

During 2004, Fripp toured with Joe Satriani and Steve Vai as the guitar trio G3. Robert Fripp_sentence_127

He also worked at Microsoft's studios to record new sounds and atmospheres for Windows Vista. Robert Fripp_sentence_128

In late 2005 and early 2006, Fripp joined sometime R.E.M. Robert Fripp_sentence_129 /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). Robert Fripp_sentence_130

This collective of musicians toured the west coast of America in May 2006. Robert Fripp_sentence_131

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. Robert Fripp_sentence_132

Throughout 2006, Fripp would perform many solo concerts of soundscapes in intimate settings, especially in churches around the West Midlands in England, where he lives. Robert Fripp_sentence_133

In October 2006, ProjeKct Six (Robert Fripp, Adrian Belew) played at select venues on the east coast of the U.S., opening for Porcupine Tree. Robert Fripp_sentence_134

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. Robert Fripp_sentence_135

Fripp also sporadically performed Soundscapes as an opening act for Porcupine Tree on various tours from 2006 through 2009. Robert Fripp_sentence_136

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). Robert Fripp_sentence_137

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. Robert Fripp_sentence_138

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. Robert Fripp_sentence_139

A Scarcity of Miracles, musical 'retirement' and new lineup of King Crimson Robert Fripp_section_10

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. Robert Fripp_sentence_140

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. Robert Fripp_sentence_141

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". Robert Fripp_sentence_142

This retirement proved to be short-lived, lasting as long as it took to come to a settlement with UMG. Robert Fripp_sentence_143

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". Robert Fripp_sentence_144

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. Robert Fripp_sentence_145

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). Robert Fripp_sentence_146

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. Robert Fripp_sentence_147

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." Robert Fripp_sentence_148

Rieflin last played with Crimson on the 2018 tours; he died March 24, 2020. Robert Fripp_sentence_149

Equipment Robert Fripp_section_11

During the early years of King Crimson (1968–74), Fripp used two Gibson Les Paul guitars from 1957 and 1959. Robert Fripp_sentence_150

The '57 guitar featured three humbucker pick-ups (with one volume control on the pickguard controlling the middle pick-up). Robert Fripp_sentence_151

In the band's 1980s era, he favored Roland GR-303 & GR-808 guitars for both straight guitar and synth control. Robert Fripp_sentence_152

In subsequent years, Fripp has used customized Les Paul-style guitars by Tokai, 48th St Custom, and Fernandes (the latter being his current choice). Robert Fripp_sentence_153

A signature model named for the guitarist (Crimson Guitars Robert Fripp Signature) features Fernandes Sustainer and MIDI pickups with a Les Paul-style Body. Robert Fripp_sentence_154

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. Robert Fripp_sentence_155

Fripp recommended that Guitar Craft students adopt the Ovation 1867 Legend steel-string guitar, which had a shallow body. Robert Fripp_sentence_156

"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. Robert Fripp_sentence_157

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. Robert Fripp_sentence_158

Guitar technique Robert Fripp_section_12

See also: New standard tuning and Guitar Craft Robert Fripp_sentence_159

Fripp began playing guitar at the age of eleven. Robert Fripp_sentence_160

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." Robert Fripp_sentence_161

He was also naturally left-handed but opted to play the guitar right-handed. Robert Fripp_sentence_162

While being taught guitar basics by his teacher Don Strike, Fripp began to develop the technique of crosspicking, which became one of his specialities. Robert Fripp_sentence_163

Fripp teaches crosspicking to his students in Guitar Craft. Robert Fripp_sentence_164

In 1985, Fripp began using a tuning he called "New Standard tuning" (C2-G2-D3-A3-E4-G4), which would also become popularised in Guitar Craft. Robert Fripp_sentence_165

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. Robert Fripp_sentence_166

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). Robert Fripp_sentence_167

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." Robert Fripp_sentence_168

Comments from other artists Robert Fripp_section_13

Many artists have cited Fripp as an influence or have expressed their admiration for him, including Steven Wilson, Omar Rodríguez-López, Trey Anastasio of Phish, St. Vincent, Kirk Hammett of Metallica, Michael Angelo Batio, Geoff Tate of Queensrÿche, Nels Cline of Wilco, Adam Jones of Tool, Merzbow, Vernon Reid of Living Colour, Ben Weinman of The Dillinger Escape Plan, Paul Masvidal of Cynic, Steve Stevens of Billy Idol, Chris Haskett of Rollins Band, Ivar Bjørnson of Enslaved, Dylan Carlson of Earth, Dan Briggs, Denis "Piggy" D'Amour of Voivod, Daniel Mongrain, Marcus Henderson, Paul Lemos of Controlled Bleeding, Richard Pinhas, Nick Reinhart of Tera Melos, Leopold Ross, electronic musician Rustie, film director Hal Hartley, and Sean Beavan. Robert Fripp_sentence_169

Personal life Robert Fripp_section_14

Fripp married Toyah Willcox in 1986 in Poole, Dorset, England. Robert Fripp_sentence_170

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. Robert Fripp_sentence_171

Fripp previously lived at Thornhill Cottage, Holt, Dorset (1971-1980) and Fernhill House, Witchampton (1980-1987). Robert Fripp_sentence_172

After Reddish House, the couple lived at Evershot Old Mansion (1999-2001). Robert Fripp_sentence_173

They then moved to their present home in Pershore, Worcestershire. Robert Fripp_sentence_174

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. Robert Fripp_sentence_175

Fripp is the patron of the Seattle Circle Guitar School in the United States and the Shallal Dance Theatre in Penzance, England. Robert Fripp_sentence_176

He also has had engagements as a motivational speaker, often at events with his sister Patricia, who is a keynote speaker and speech coach. Robert Fripp_sentence_177

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. Robert Fripp_sentence_178

Fripp is a pescetarian. Robert Fripp_sentence_179

Awards and honors Robert Fripp_section_15

Asteroid 81947 Fripp, discovered by Marc Buie at Cerro Tololo in 2000, was named in his honor. Robert Fripp_sentence_180

The official naming citation was published by the Minor Planet Center on 18 May 2019 (M.P.C. Robert Fripp_sentence_181

114955). Robert Fripp_sentence_182

Discipline Global Mobile Robert Fripp_section_16

Main article: Discipline Global Mobile Robert Fripp_sentence_183

In 1992, Fripp and producer/online content developer David Singleton co-founded Discipline Global Mobile (DGM) as an independent music label. Robert Fripp_sentence_184

DGM releases music by Fripp, KC, related acts, and other artists in CDs and in downloadable files. Robert Fripp_sentence_185

A 1998 Billboard profile stated that DGM had ten staff-members in Salisbury (England) and Los Angeles (USA). Robert Fripp_sentence_186

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." Robert Fripp_sentence_187

DGM insists that its artists retain all copyrights; consequently, even DGM's "knotwork" corporate-logo (pictured above) is owned by its designer, Steve Ball; the "knotwork" logo appeared earlier on the cover of later versions of the Discipline album. Robert Fripp_sentence_188

DGM's aims were called "exemplary" by Bill , 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. Robert Fripp_sentence_189

DGM publishes an on-line diary by Fripp, who often comments on performances and on relations with fans. Robert Fripp_sentence_190

A moderated forum allows fans to ask questions or to leave comments. Robert Fripp_sentence_191

Together, Fripp's diary and the fan forum display delayed dialogs in which Fripp and fans discuss diary-entries and forum-postings. Robert Fripp_sentence_192

Copyright complaints against Grooveshark Robert Fripp_section_17

Main article: Grooveshark Robert Fripp_sentence_193

In 2011, Fripp complained that the music-distribution service Grooveshark continued to stream his music despite his having delivered repeated takedown notices. Robert Fripp_sentence_194

Fripp and Grooveshark's correspondence was published by Digital Music News and in his diaries, which appear on the website of Discipline Global Mobile. Robert Fripp_sentence_195

Fripp's published exchange was included in a suit against Grooveshark by Universal Music Group, which was filed in November 2011. Robert Fripp_sentence_196

UMG cited internal documents revealing that Grooveshark employees uploaded thousands of illegal copies of UMG-owned recordings. Robert Fripp_sentence_197

Fripp had previous experience protecting his music in litigation with music companies. Robert Fripp_sentence_198

Discography Robert Fripp_section_18

Main article: Robert Fripp discography Robert Fripp_sentence_199

See also: King Crimson discography Robert Fripp_sentence_200

Fripp has been extremely active as a recording musician and a producer. Robert Fripp_sentence_201

He has contributed to more than 700 official releases. Robert Fripp_sentence_202

The Robert Fripp Discography Summary, compiled by John Relph, also lists 120 compilations and 315 unauthorised releases (such as bootlegs). Robert Fripp_sentence_203

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. Robert Fripp_sentence_204

Studio releases are listed here. Robert Fripp_sentence_205

Giles, Giles & Fripp Robert Fripp_section_19

Robert Fripp_unordered_list_0

Solo Robert Fripp_section_20

Studio albums Robert Fripp_section_21

Robert Fripp_unordered_list_1

Live albums Robert Fripp_section_22

Robert Fripp_unordered_list_2

  • 1994 : 1999: Soundscapes Live in ArgentinaRobert Fripp_item_2_7
  • 1995 : Radiophonics: 1995 Soundscapes volume 1Robert Fripp_item_2_8
  • 1995 : A Blessing of Tears: 1995 Soundscapes volume 2Robert Fripp_item_2_9
  • 1996 : That Which Passes: 1995 Soundscapes volume 3Robert Fripp_item_2_10
  • 1998 : November SuiteRobert Fripp_item_2_11
  • 2005 : Love Cannot BearRobert Fripp_item_2_12
  • 2007 : At the End of Time: Churchscapes Live in England & EstoniaRobert Fripp_item_2_13

Brian Eno Robert Fripp_section_23

Robert Fripp_unordered_list_3

David Bowie Robert Fripp_section_24

Robert Fripp_unordered_list_4

David Sylvian Robert Fripp_section_25

Robert Fripp_unordered_list_5

Andy Summers Robert Fripp_section_26

Robert Fripp_unordered_list_6

  • 1982 : I Advance MaskedRobert Fripp_item_6_28
  • 1984 : BewitchedRobert Fripp_item_6_29
  • 1984 : Andy Summers & Robert Fripp Speak Out - Promo albumRobert Fripp_item_6_30

The League of Gentlemen Robert Fripp_section_27

Robert Fripp_unordered_list_7

The League of Crafty Guitarists Robert Fripp_section_28

Robert Fripp_unordered_list_8

  • 1986 : The League of Crafty Guitarists Live !Robert Fripp_item_8_33
  • 1990 : Live IIRobert Fripp_item_8_34
  • 1991 : A show of handsRobert Fripp_item_8_35
  • 1995 : Intergalactic Boogie ExpressRobert Fripp_item_8_36

Theo Travis Robert Fripp_section_29

Robert Fripp_unordered_list_9

  • 2008 : ThreadRobert Fripp_item_9_37
  • 2012 : FollowRobert Fripp_item_9_38
  • 2012 : DiscretionRobert Fripp_item_9_39

Soundscapes Robert Fripp_section_30

Robert Fripp_unordered_list_10

  • 1994 : 1999 Soundscapes: Live in ArgentinaRobert Fripp_item_10_40
  • 1995 : A Blessing of Tears: 1995 Soundscapes, Vol. 2Robert Fripp_item_10_41
  • 1996 :: Radiophonics: 1995 Soundscapes, Vol. 1Robert Fripp_item_10_42
  • 1996 : That Which Passes: 1995 Soundscapes, Vol. 3Robert Fripp_item_10_43
  • 1997 : November Suite: Soundscapes - Live at Green Park Station 1996Robert Fripp_item_10_44

Other recordings Robert Fripp_section_31

Robert Fripp_unordered_list_11

  • 1981 : The Warner Brothers Music Show - The Return Of King Crimson (interviews with music inserts)Robert Fripp_item_11_45
  • 1985 : Network (EP, compilation)Robert Fripp_item_11_46
  • 1986 : The Lady or the Tiger (With Toyah Wilcox)Robert Fripp_item_11_47
  • 1991 : Kneeling at the Shrine (With Sunday All Over the World)Robert Fripp_item_11_48
  • 1993 : The Bridge Between (With The Robert Fripp String Quintet)Robert Fripp_item_11_49
  • 1994 : FFWD (With The Orb)Robert Fripp_item_11_50
  • 1999 : The Repercussions of Angelic Behavior (With Bill Rieflin & Trey Gunn)Robert Fripp_item_11_51
  • 2000 : A Temple in the Clouds (With Jeffrey Fayman)Robert Fripp_item_11_52
  • 2007 : Robert Fripp : Unplugged - 3 CD Box-setRobert Fripp_item_11_53
  • 2011 : A Scarcity of Miracles (With Mel Collins & Jakko Jakszyk)Robert Fripp_item_11_54
  • 2012 : The Wine of Silence (With Andrew Keeling, David Singleton & Metropole Orkest)Robert Fripp_item_11_55
  • 2015 : Starless Starlight : David Cross & Robert FrippRobert Fripp_item_11_56

Collaborations Robert Fripp_section_32

Robert Fripp_unordered_list_12

  • 1970 : H to He, Who Am the Only One : Van der Graaf GeneratorRobert Fripp_item_12_57
  • 1971 : Pawn Hearts : Van der Graaf GeneratorRobert Fripp_item_12_58
  • 1971 : Fools Mate : Peter HammillRobert Fripp_item_12_59
  • 1971 : Septober Energy : CentipedeRobert Fripp_item_12_60
  • 1972 : Blueprint : Keith TippettRobert Fripp_item_12_61
  • 1972 : Matching Mole's Little Red Record : Matching MoleRobert Fripp_item_12_62
  • 1973 : Ovary Lodge : Keith TippettRobert Fripp_item_12_63
  • 1977 : Peter Gabriel I : Peter GabrielRobert Fripp_item_12_64
  • 1978 : Parallel Lines : BlondieRobert Fripp_item_12_65
  • 1978 : Peter Gabriel II : Peter GabrielRobert Fripp_item_12_66
  • 1979 : Fear of Music : Talking HeadsRobert Fripp_item_12_67
  • 1979 : The Roches : The RochesRobert Fripp_item_12_68
  • 1980 : Sacred Songs : Daryl HallRobert Fripp_item_12_69
  • 1980 : Peter Gabriel III : Peter GabrielRobert Fripp_item_12_70
  • 1982 : Keep on doing : The RochesRobert Fripp_item_12_71
  • 1985 : Alchemy: An Index of Possibilities : David SylvianRobert Fripp_item_12_72
  • 1986 : Gone to earth : David SylvianRobert Fripp_item_12_73
  • 1987 : Couple in Spirit : Keith Tippett and Julie TippettsRobert Fripp_item_12_74
  • 1993 : Beyond These Shores : IonaRobert Fripp_item_12_75
  • 1994 : Sidi Mansour : RimittiRobert Fripp_item_12_76
  • 1994 : Flowermouth : No ManRobert Fripp_item_12_77
  • 1994 : Battle Lines : John WettonRobert Fripp_item_12_78
  • 1995 : Cheikha Rimitti Featuring Robert Fripp and Flea : Cheikha [Unreleased Tracks From The Sidi Mansour Album]Robert Fripp_item_12_79
  • 1996 : The Woman's Boat : Toni ChildsRobert Fripp_item_12_80
  • 1998 : Arkangel : John WettonRobert Fripp_item_12_81
  • 1999 : Birth of a Giant : Bill RieflinRobert Fripp_item_12_82
  • 1999 : Approaching Silence : David SylvianRobert Fripp_item_12_83
  • 2000 : Everything and Nothing : David SylvianRobert Fripp_item_12_84
  • 2001 : Sinister : John WettonRobert Fripp_item_12_85
  • 2001 : The Thunderthief : John Paul Jones (musician)Robert Fripp_item_12_86
  • 2002 : Trance Spirits : Steve Roach & Jeffrey Fayman With Robert Fripp & Momodou KahRobert Fripp_item_12_87
  • 2002 : Camphor : David SylvianRobert Fripp_item_12_88
  • 2006 : Side three : Adrian BelewRobert Fripp_item_12_89
  • 2011 : Raised in captivity : John WettonRobert Fripp_item_12_90

Production Robert Fripp_section_33

Robert Fripp_unordered_list_13

  • 1971 : Septober Energy : CentipedeRobert Fripp_item_13_91
  • 1972 : Matching Mole's Little Red Record : Matching MoleRobert Fripp_item_13_92
  • 1972 : Blueprint : Keith TippettRobert Fripp_item_13_93
  • 1973 : Ovary Lodge : Ovary Lodge - With Keith Tippett, Roy Babbington, etc.Robert Fripp_item_13_94
  • 1978 : Peter Gabriel : Peter GabrielRobert Fripp_item_13_95
  • 1979 : The Roches : The RochesRobert Fripp_item_13_96
  • 1980 : Sacred Songs : Daryl HallRobert Fripp_item_13_97
  • 1991 : The California Guitar Trio : The California Guitar Trio - Executive producerRobert Fripp_item_13_98
  • 1995 : Intergalactic Boogie Express : Coproducer.Robert Fripp_item_13_99
  • 1998 : Pathways : California Guitar Trio - Executive producerRobert Fripp_item_13_100

See also Robert Fripp_section_34

Robert Fripp_unordered_list_14


Credits to the contents of this page go to the authors of the corresponding Wikipedia page: en.wikipedia.org/wiki/Robert Fripp.