この両者のデュオ作品の2枚目だと思います。前作は聴いていませんが、最近フリップの仕事場になってきた(?)教会でのライヴということで、買ってみました。
全体に、お互いが強く主張し合うようなところがなく、淡々とした音が静かに流れていきます。フリップ単独のサウンドスケープ作品より、ずっと控えめで、サウンドスケープの音色も昔のフリッパートロニクス時代に戻ったような部分もあります。一方のトラヴィスも、サックスやフルートにディレイをかまして反復させながら音を重ねていく手法を使っており、特にフルートの中低音が印象に残ります。
プログレファンが気になるのが、キング・クリムゾンの1stに収録されていた「ムーンチャイルド」をやっているところ。オリジナル曲自体が静かな曲でしたが、ここでの演奏も静謐そのもので、前後の曲の間にひっそりたたずんでいる感じ。うっかりしていると、「あれ、ムーンチャイルドはどこだったっけ?」と気がつかないままCDが終わってしまいます(笑)。もちろんグレッグ・レイクの歌は入っていません。
しかし、どういうオーディエンスを前に演奏しているのでしょう?やっぱり地元の教会の信者さん達かな。近年の活動ぶりから、フリップがキリスト教に傾斜していることはわかりますが、どういった背景や世界観でそうなってきたのか、また彼が現在の世界をどのように見ているのか、じっくり聞いてみたいものです。
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Live at Coventry..
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曲目リスト
1 | The Apparent Chaos of Stone |
2 | Field of Green |
3 | The Unquestioned Answer |
4 | Blue Calm |
5 | Duet for the End of Time |
6 | The Offering |
7 | Angels in the Roof |
8 | Moonchild |
9 | Lamentation |
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 14.3 x 12.6 x 0.99 cm; 94.12 g
- メーカー : Panegyric
- EAN : 0791687226820, 0633367774422, 0521312074003
- 製造元リファレンス : GYRCD004
- オリジナル盤発売日 : 2010
- レーベル : Panegyric
- ASIN : B00383XZH6
- 原産国 : アメリカ合衆国
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 941,972位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 36,652位ダンス・エレクトロニカ (ミュージック)
- - 221,201位ロック (ミュージック)
- - 389,942位輸入盤
- カスタマーレビュー:
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他の国からのトップレビュー
4-Legged Defender
5つ星のうち5.0
"Get Me To The Church On Time"...
2011年1月8日にアメリカ合衆国でレビュー済みAmazonで購入
[TRAVIS AND FRIPP - Live at Coventry Cathedral] This beautiful collaboration between Theo Travis and Robert Fripp is a refreshing approach to the Frippertronics and Soundscapes that Fripp has been doing since 'No Pussyfooting', a collaboration with Brian Eno in 1975, and followed up with 'Evening Star' shortly afterwards. These albums represent the true beginning of ambient music as we now call it. Each artist had his own unique take on this new art form and made many releases of their own interpretations on various LP's (as they were then called), and it's the kind of stuff one either loves or hates, and sometimes both simultaneously. It's never what you'd expect, but if you "leave your expectations at the door", as Fripp liked to state back then, you might actually be receptive to it, and "let it come inside for a visit".
Robert has been doing the 'soundscapes' thing since 1978, and in the early 80's, both prior and concurrent to his reintroduction of a new King Crimson to the marketplace, conducted a series of solo concerts throughout Europe in as many famous cathedrals as would grant him permission to perform in. I had the privilege to see him play these types of concerts several dozen times when he was living in New York, usually at the Washington Square Church or West Fourth Street Church in Greenwich Village. On other occasions, he would do a weeks worth of performances at Soho art galleries such as Inroads and the Soho Art Studio. It was usually only to an audience of 40 to 80 people, and he would play and then get up and tell engaging recollections of his illustrious career, followed by a question and answer period with the audience in attendance. It was truly a wonderful experience. I got to know Robert fairly well during this period (as well as someone can know this enigmatic creature who never lets his guard all the way down), and he would call to say when he'd be in town, leave our names at the door as guests, chat with us or invite us (myself and then girlfriend) backstage, and occasionally invite us to accompany him for dinner at Meandros, a famous Greek restaurant on 8th St., or over to Rumbles for espresso and dessert (he had a wicked penchant for caffeine and sweets) on 7th Avenue. It was one of the most special times in my life - and I don't exaggerate when I say I saw him perform soundscapes dozens of times, and it never got old. I even travelled to S.U.N.Y. College in Purchase, N.Y., a college in Long Island and 'Toads Place' in Westport, Connecticut, just to see him play. Obviously, I'm somewhat biased, but not sycophantic. This was a highly articulate and intelligent man (who fascinated me even more as a youth), too much so for a rock musician or to become as famous as he could have / should have been, and a contradiction in terms of a sensitive yet cloistered creature that bordered on being alien - he was like 'The Man Who Fell To Earth'.
This is an enchanting endeavor between these two, and Robert frequently takes a back seat to Travis' alto flute and soprano sax, and the results supremely rewarding for those who appreciate this type of experience. It's lush, haunting, ethereal, hypnotic, meditative, relaxing, pensive, soothing and spellbinding. Fripp's sounds are reminiscent of his work during the period in the 90's when he worked with David Sylvian, and occasionally even a throwback to the first two Crimson albums as far as his sound goes. It's sheer brilliance during the several moments when he does step into the light and utilizes that famous sustained sound on his Les Paul that helped make him a guitar god of the late 60's and 70's before he switched over to the Roland guitar synthesizer in the 80's.
This is more truly collaborative than most of his works with Eno, Andy Summers or David Sylvian, and we all know that far too frequently in music, democracies don't work. There's even a new version of 'Moonchild' from the first Crimson album that gets a nice reworking here. The artwork and photos are excellent and expansive, and the two sets represented here are gorgeous and bear repeated listening to fully appreciate. It's a new take on an familiar formula, with fantastic results - I wouldn't hesitate to recommend it to anyone bold enough to listen to something new, as well as to those fans of Fripp (even those who aren't enamored with his soundscape work), Sylvian, Eno, Harold Budd, Holgar Czukay, Michael Brook, or ambient music in general. 'Live at Coventry Cathedral'? By all means, "Get me to the church on time"...
Robert has been doing the 'soundscapes' thing since 1978, and in the early 80's, both prior and concurrent to his reintroduction of a new King Crimson to the marketplace, conducted a series of solo concerts throughout Europe in as many famous cathedrals as would grant him permission to perform in. I had the privilege to see him play these types of concerts several dozen times when he was living in New York, usually at the Washington Square Church or West Fourth Street Church in Greenwich Village. On other occasions, he would do a weeks worth of performances at Soho art galleries such as Inroads and the Soho Art Studio. It was usually only to an audience of 40 to 80 people, and he would play and then get up and tell engaging recollections of his illustrious career, followed by a question and answer period with the audience in attendance. It was truly a wonderful experience. I got to know Robert fairly well during this period (as well as someone can know this enigmatic creature who never lets his guard all the way down), and he would call to say when he'd be in town, leave our names at the door as guests, chat with us or invite us (myself and then girlfriend) backstage, and occasionally invite us to accompany him for dinner at Meandros, a famous Greek restaurant on 8th St., or over to Rumbles for espresso and dessert (he had a wicked penchant for caffeine and sweets) on 7th Avenue. It was one of the most special times in my life - and I don't exaggerate when I say I saw him perform soundscapes dozens of times, and it never got old. I even travelled to S.U.N.Y. College in Purchase, N.Y., a college in Long Island and 'Toads Place' in Westport, Connecticut, just to see him play. Obviously, I'm somewhat biased, but not sycophantic. This was a highly articulate and intelligent man (who fascinated me even more as a youth), too much so for a rock musician or to become as famous as he could have / should have been, and a contradiction in terms of a sensitive yet cloistered creature that bordered on being alien - he was like 'The Man Who Fell To Earth'.
This is an enchanting endeavor between these two, and Robert frequently takes a back seat to Travis' alto flute and soprano sax, and the results supremely rewarding for those who appreciate this type of experience. It's lush, haunting, ethereal, hypnotic, meditative, relaxing, pensive, soothing and spellbinding. Fripp's sounds are reminiscent of his work during the period in the 90's when he worked with David Sylvian, and occasionally even a throwback to the first two Crimson albums as far as his sound goes. It's sheer brilliance during the several moments when he does step into the light and utilizes that famous sustained sound on his Les Paul that helped make him a guitar god of the late 60's and 70's before he switched over to the Roland guitar synthesizer in the 80's.
This is more truly collaborative than most of his works with Eno, Andy Summers or David Sylvian, and we all know that far too frequently in music, democracies don't work. There's even a new version of 'Moonchild' from the first Crimson album that gets a nice reworking here. The artwork and photos are excellent and expansive, and the two sets represented here are gorgeous and bear repeated listening to fully appreciate. It's a new take on an familiar formula, with fantastic results - I wouldn't hesitate to recommend it to anyone bold enough to listen to something new, as well as to those fans of Fripp (even those who aren't enamored with his soundscape work), Sylvian, Eno, Harold Budd, Holgar Czukay, Michael Brook, or ambient music in general. 'Live at Coventry Cathedral'? By all means, "Get me to the church on time"...
MAK
5つ星のうち5.0
Fripp und Travis in Bestform
2010年6月9日にドイツでレビュー済みAmazonで購入
Das Studioalbum Thread - das zündete nicht gerade. Zu sehr schienen beide Musiker in einem engen Raum aus esoterischem Gewaber und umherrschwirrenden Flötenklängen verfangen. Außerdem dürfte der ein oder andere, nach den unzähligen Soundscape Veröffentlichungen des verschrobenen Engländers, der übrigens ganz vorzüglich gut Gitarre spielen kann und immer noch zu den außergewöhnlichsten, wenn nicht besten der klampfenden Zunft unserer Zeit gehört, etwas innovativeres von Fripp erwartet haben. Schließlich ist der Mann nicht nur Musiker und Gitarrist, sondern selbstredend ein Innovator. Punktum: Auch das vorliegende Live-Album von Travis & Fripp basiert größtenteils auf Soundscapes - das sind mit Hilfe eines Gitarrensynthesizers und Delay-Effekten gemalte ausufernde Klanglandschaften. Nur eben, das Fripp nicht selten und mit hoher Intensität die geschaffene Ruhe durchschneidet und mit seinen berühmten Soli (ich erinnere dabei auch an die Hookline zum Alltime David Bowie Hit "Heroes")deutliche Kontrapunkte zum lyrischen Spiel des Flötisten und Saxofonisten Theo Travis setzt. Das tut gut. Bemerkenswert ist auch das Zusammenspiel der beiden, dass an Homogenität und Dynamik nur schwer zu toppen ist. Hinzugefügt werden muss noch, dass alle Stücke, mit Ausnahme des King Crimson Klassikers Moonchild, frei improvisiert sind. Das dürfte jedoch auch geübten Zuhören kaum auffallen. Noch eins möchte ich anfügen: Um diese Art von Musik zu genießen, sollte man sich etwas Zeit und Ruhe nehmen. In diesem Fall lohnt es sich.
Finbar the looney
5つ星のうち4.0
NO PUSSYFOOTING
2011年7月17日に英国でレビュー済みAmazonで購入
As one reviewer said"this is a Sunday Morning record"well it certainly is!!!
I am sitting here with my Mexicana cheese sandwich(Wholemeal) and a glass of sugar free Lemon Squash,totally absorbed in the sounds eminating from my CD player.
This is classic Robert Fripp territory,the Frippotronics do not dominate the subtle Saxes and Flutes of Theo Travis,the music is ambient and thoroughly beautiful,with delicate nuances that dance in and out of your senses,never avant garde but always beguiling.
To compare this to others of its ilk would be churlish,Fripp and Travis operate in a world of their own,and long may they continue.
The ethereal"lamentation"is just wonderful as is the nod to King crimsons"Moonchild"
Lovely album
Robert Fripp.....Guitar,Electronics
Theo Travis.....Alto saxophone and Flute
73mins 38 secs
I am sitting here with my Mexicana cheese sandwich(Wholemeal) and a glass of sugar free Lemon Squash,totally absorbed in the sounds eminating from my CD player.
This is classic Robert Fripp territory,the Frippotronics do not dominate the subtle Saxes and Flutes of Theo Travis,the music is ambient and thoroughly beautiful,with delicate nuances that dance in and out of your senses,never avant garde but always beguiling.
To compare this to others of its ilk would be churlish,Fripp and Travis operate in a world of their own,and long may they continue.
The ethereal"lamentation"is just wonderful as is the nod to King crimsons"Moonchild"
Lovely album
Robert Fripp.....Guitar,Electronics
Theo Travis.....Alto saxophone and Flute
73mins 38 secs
R Urie
5つ星のうち5.0
Lovely Album
2014年2月19日にアメリカ合衆国でレビュー済みAmazonで購入
I have been a long-time fan of both Theo Travis and Robert Fripp, so to hear their music wafting beautifully together within the spaces of a cathedral seemed perfectly fitting for the ambiance their respective approaches to their instruments can bring. I listen to it during a rainstorm, while cleaning the house or sitting on the back porch on a warm, summer's evening. I'm very happy to know there are still musicians such as these two melding their art together for our enjoyment.
Steven L. Holec
5つ星のうち5.0
Five Stars
2016年9月25日にアメリカ合衆国でレビュー済みAmazonで購入
Great recording.