Sunday, November 23, 2025

Robert Fripp, Brian Eno - 2014 "Live in Paris 28.05.1975"


These days nobody bats an eyelid if somebody taps at a laptop or twiddles an oscillator or two for the duration of a gig.

In 1975 it was just too much for the punters who’d packed into the Paris Olympia to see Fripp & Eno. Having escaped the restrictions of their parent acts, Robert Fripp and Brian Eno were keen to present the results of a collaboration that first began in 1972 to a live audience. It didn’t really work – the second night in Paris saw the duo booed off the stage. Thankfully, the first evening was bootlegged and it’s this gig that occupies two discs of this historic three-CD set.

Handsomely packaged, painstaking audio restorations have removed layers of sonic dirt, ensuring the music really shines through. In a way, it’s a kind of audio documentary – we hear the gentle undulations of Eno’s pre-gig VCS3 percolating through the Gauloise smoke drifting up from a bemused and restless crowd.

When the players come on stage, the sound world they create is about as far removed from the dramatic extremes of King Crimson or Roxy Music’s showmanship as it’s possible to imagine. With the players partially obscured by a movie loop of a horse endlessly trotting around a yard, the event was more akin to an art installation than the traditional gig most punters were expecting.

What we hear are raw renditions of material that comprised the darker angularities of _(No Pussyfooting) _and the slightly sweeter tones of Evening Star. The music manages to be both beautiful and, at times, incredibly brutal, veering from contemplative proto-ambient meanderings to blistering the paintwork within a 300-yard radius of the stage and blowing the bloody doors off the place.

Complementing the actual concert, the third disc consists of the reels of guitar loops across which Fripp soloed. The pristine sound quality makes these worthy of release in their own right. Added to them comes Later On, the B-side of Eno’s The Seven Deadly Finns single featuring the pair. Long out of print, its appearance on CD for the first time makes the completists among us shiver with delight.

While owing much to Terry Riley’s pioneering work, Fripp & Eno’s albums had a much wider impact on the mainstream rock audience over the longer term. With King Crimson now back in action, would it be too much to hope that in a more accepting climate, Fripp & Eno might take to the stage once more? In the meantime, this essential package is a must-have addition to your collection.


Track listing:

1-1 Water On Water 10:46

1-2 A Radical Representative Of Pinsnip 9:39

1-3 Swastika Girls 7:44

1-4 Wind On Wind 2:00

1-5 Announcement 1:13

2-1 Wind On Water 9:44

2-2 A Near Find In Rip Pop 7:21

2-3 A Fearful Proper Din 4:12

2-4 A Darn Psi Inferno 4:59

2-5 Evening Star 5:59

2-6 An Iron Frappe 10:33

2-7 Softy Gun Poison 12:31

2-8 An Index Of Metals 7:20

3-1 Test Loop I 4:07

3-2 Test Loop II 0:47

3-3 Loop Only: A Radical Representative Of Pinsnip 10:39

3-4 Loop Only: Wind On Water 9:53

3-5 Loop Only: A Darn Psi Inferno 5:40

3-6 Loop Only: Softy Gun Poison 14:45

Bonus Tracks

3-7 Loop Only: Wind On Water Reversed 9:50

3-8 Later On (Single B Side) 4:56


Personnel:

Guitar – Robert Fripp

Loops, Electronics [Devices] – Brian Eno

Tuesday, November 11, 2025

Ron Carter, Herbie Hancock, Tony Williams - 1978 [1992] "Third Plane"


Third Plane is an album by jazz bassist Ron Carter, released on the Milestone label in 1977. It features performances by Carter, Herbie Hancock and Tony Williams.

A second selection of five tracks recorded by the trio during the same day's sessions was released under Herbie Hancock's name as Herbie Hancock Trio.

The second album that was released from the material recorded with Herbie, Tony, and Ron at David Rubinson's new studio in San Francisco on July 13, 1977--this one released on Milestone Records due to contractual obligations

A1. "Third Plane" (5:52) a nice little Latin-shaded tune composed and anchored by Ron that sees Herbie taking the melodic lead with vim, verve and a Antonio Carlos Jobim-like respect for space and clean phrasing. The drumming is solid though rarely Tony Williams-like in its fire and creativity. Still, an excellent, beautiful tune. (9.25/10)

A2. "Quiet Times" (7:50) a late night wanderer that slides into some Miles Davis Kind of Blue-like blues in its second minute while Ron's slip-sliding bass runs up front, Tony's brushed drums down beneath the others, and Herbie's piano somewhere in between. Though Ron is credited as the song's composer, he performs more as if this were so than on the album's opener (to which he is also the credited composer), soloing quite eruditely throughout fourth and fifth minutes. Herbie's piano play even brings in a lot of Kind of Blue phrasing and stylings. (13.625/15)

A3. "Lawra" (6:06) on this one the boys return to the light, performing a Tony Williams song that would also be exhibited in expanded form (9:43) on the September V.S.O.P. release of the Greek Theater concerts sandwiched around this date in the recording studio entitled The Quintet. (9/10)

B1. "Stella By Starlight" (8:24) another cover a jazz standard, yet another one that Miles helped to resuscitate make popular, this one a song from a film of the same name that came out in 1944 and whose music was composed by Victor Young. The song was made a jazz standard via covers by Charlie Parker, Chet Baker, Stan Getz, Bud Powell, Stan Kenton's big band as well as Nat King Cole before Miles grabbed it and twice revived it's popularity in 1955 and as part of his live concert standards in the mid -1960s. Nice rendition though I know the previous versions so little that it feels fresh and original (if a little scattered) to me. (17.75/20)

B2. "United Blues" (2:59) another Carter composition that displays Ron's propensity for bounce and syncopation with the trio being asked to hold fast and firm to a very clean and clear-cut discipline throughout. (8.875/10)

B3. "Dolphin Dance" (8:18) here reviving an old Herbie classic (originally from Maiden Voyage, it was inspired by a Count Basie tune), the band rises and falls with the ocean swells as Herbie and Ron swim playfully around each other while Tony seems content to watch like a mesmerized child. (18.5/20)

If I have any complaint of this album it would be of the continued low levels of the drums and continued far-forward push of Ron's bass: I would like to have heard from these recordings at The Automatt a little more even leveling of the three instruments as I found myself tiring a bit at trying to work past Ron's bass playing, as amazing as it is, in order to hear Tony's drum play.

Total Time 38:03


Track listing:

"Third Plane" (Carter) – 5:53

"Quiet Times" (Carter) – 7:52

"Lawra" (Tony Williams) – 6:08

"Stella by Starlight" (Ned Washington, Victor Young) – 8:26

"United Blues" (Carter) – 3:01

"Dolphin Dance" (Herbie Hancock) – 8:20


Personnel:

Ron Carter – bass

Herbie Hancock – piano

Tony Williams – drums