Hahaha, is he serious?

 

Man, I hate minimalism.

 

http://www.brainyquote.com/quotes/authors/r/robert_fripp.html - http://www.brainyquote.com/quotes/authors/r/robert_fripp.html

 

and the timeline for fans (I stopped beeing his fan after Starless and bible black)

 

 

  http://www.fringedigital.com/fripp/ - http://www.fringedigital.com/fripp/

 

and finaly biography by Eric Tamm

 

http://www.progressiveears.com/frippbook/contents.htm - http://www.progressiveears.com/frippbook/contents.htm

 

When I said monastery I meant of his ten month course in Sherborne. He wrote about his experience:

 

 Fripp gave one of his accounts of his Sherborne year when Stephe Pritchard, during the 1981 Recorder Three interview, asked him, "In what ways do you think Gurdjieff has influenced you?" Fripp answered, "Well, I probably wouldn't be here now, certainly not in this form, if I hadn't come across that." Fripp described how, during the ten-month course at Sherborne, students were allowed to leave the premises only one day every three weeks. "We lost three people to the asylum in my year and overall twenty per cent [of the students] left ... It was very, very hard work; it was the difference between working on the inside and the outside, that if you're feeling a bit pissed off you can go to the pictures or watch television or get drunk or do whatever. But in Sherborne you had to sit there and find a way of dealing with it - the expression would be working with it - not easy. The woman I was living with left me while I was there which was awful for me - I was pretty suicidal - it was not easy. But, on the other hand, that was certainly the beginning of my life, if you like." Fripp went on to describe the day's regimen, which began with rising at six in the morning (at four-thirty if one had kitchen duty). Morning psychological exercises were conducted at quarter to seven, followed by breakfast at seven thirty. At eight-thirty began the day's work with practical skills, including metal work, stonemasonry, carpentry, and so on. "In addition to practical work we had cosmological lectures, there were remarkable Gurdjieff movements, sacred kinesis; but essentially it was very practical, the school wasn't primarily theoretical." Many issues that came up during the year "confounded the mind," proving unamenable to rational analysis. The living quarters were cold, uncomfortable, and lacked privacy (Fripp shared a dorm room with five other men). Psychologically provocative situations constantly arose among the residents. And to top it off, Fripp even came to believe the house was haunted.

 

I mean Bill Bruford was with KC a first time in the Wetton era 1973-1974

He was there when Fripp reformed KC from 1981 to 1984

Bruford came back again in 1994 for a new KC incarnation.

So i don't think it was so bad.

 

Unless Bill B. is some kind of a masochist, i don't think he would have put up with that if it were true.

 

 

2. His parts have lots of fills and major changes of textures;
3. His fills are dramatic; i.e., they shock.

These were my favorite aspects of Bill's drumming both w/Yes and 70's Crimson.  ESPECIALLY the major changes in textures.  To me, he never took a basic approach to anything.  Take the hits on Yes's "And You And I" during the heavily-reverbed mellotron part--not just cymbal crashes on every note.  I guess Fripp was wanting something drastically different and mechanical--a web of intertwined sound.  It was a specific re-direction that Fripp wanted to go in.  I also think this was a philosophical change in 80's music vs 70's--not just within the Crimson camp.

 

Something like: Number of the rule / song or excerpt that shows that rule applied (or not)

 

I´ll do it soon, I need some time. Meanwhile... do it for yourself !!!

 

Sasquamo, dont make statements which could connect you with your avatar

 

 

Well, who knows that it might have been helpful after all. And yes, all band leaders can sometimes be a bit... not easy to work with. 

 

10. If the part you're playing is boring, stop listening with your head;
11. If this still bores you, listen to the interaction between all the parts;
12. If this still bores you, stop playing and wait until you are no longer bored;

Bill can clearly be heard playing throughout "Man With An Open Heart."  He obviously forgot rule 12.  Good thing Fripp didn't apply this rule to the other bandmembers or they may have instead opted to include a cover of John Cage's 4'33".

I first thought he was really as asss, so cruel, but after reading your comment fripp's suggestion made a lot sense to bill. good info!!

The only thing I want to say is that you should judge a genious (and Fripp is one for sure) according to the results. I do not concider Discipline or Three of a perfect pair as their best works (most 70's output and Thrak and The power to believe are better IMO) but still many excellent tracks such as indiscipline, the sheltering sky, LTIA III and more so I would say he knew what he was doing.

I can not tell how great is his guitar playing but some of it sounds like nothing else and make me feel all sort of feelings such as caos and terror (in Red), desperation after the battle (in The battle of glass tears) so, it is very unique and I'm sure indicates the quality of playing.

I would probably fail to work with him but that is one reason why I never played with him (apart from not knowing to play, too young, live in the wrong country and many other reasons).

"Economic" or inspired, the work Bruford did with Moraz in the mid-1980s (definitely jazz) is phenomenal.  The man is a talented jazz drummer...