In 1975, Fripp and Brian Eno played live shows in Europe, and Fripp also contributed guitar solos to Enos landmark album, Another Green World.He has also contributed sounds to the Windows Vista operating system.His innovations include a tape delay system known as Frippertronics and new standard tuning.
His mother Edith ( ne Green; 19141993) was from a Welsh mining family. Her earnings from working at the Bournemouth Records Office allowed his father to start a business as an estate agent. 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. He then took guitar lessons from Kathleen Gartell and Don Strike; 9 at age 11, he was playing rock, moving on to traditional jazz at 13 and modern jazz at 15. He cited jazz musicians Charlie Parker and Charlie Mingus as his musical influences during this time. After they split in the following year, Fripp concentrated on his O-level studies and joined his fathers firm as a junior negotiator. At this point, he intended to study estate management and eventually, take over his fathers business. However, at seventeen, Fripp decided to become a professional musician. 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. 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 ). 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. Galvanized by the experience, he went on to listen to Sgt. Peppers Lonely Hearts Club Band, Bla Bartk s string quartets, Antonn Dvok s New World Symphony, Jimi Hendrix s Are You Experienced and John Mayall the Bluesbreakers. Many years later, Fripp would recall that although all the dialects are different, the voice was the same. Their only studio album, The Cheerful Insanity of Giles, Giles and Fripp, was released in 1968. 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. King Crimsons debut album, In the Court of the Crimson King, was released in late 1969 to great success: drawing on rock, jazz and European folkclassical music ideas, it is regarded as one of the most influential albums in the history of progressive rock. 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. 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 bands music was more Fripps than theirs and that it would be better if they were the ones to leave. They issued two more albums ( Lizard and Islands ) and were the only constants in a regularly changing King Crimson lineup. It included (at various times) Gordon Haskell, saxophonistflute 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 The League Of Gentlemen Rar Extractor Free Jazz WhileFripp was listed as the sole composer of the bands music during this time, which built on the first albums blueprint but progressed further into jazz rock and free jazz while also taking form from Sinfields esoteric lyrical and mythological concepts. 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 Bla Bartk ). 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 The League Of Gentlemen Rar Extractor Series Of LongFripp 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. 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. He produced Matching Mole s Matching Moles Little Red Record in 1972. 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. These experimented with several avant-garde musical techniques that were new to rock. A tape delay system using dual reel-to-reel Revox tape machines played a central role in Fripps later work, and became known as Frippertronics.
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