antoniodeste

Recently released. Great album. Nice (and concise) review. What a lineup, Summers. We also needed Etheridge. I agree with the reviewer on "Nuages" and "Monk's Mood." Sacred Rheinhardt and Thelonious (melodious).

I find it pleasing to observe delightful aspects of your personality, Adder, and undoubtedly (even though there were no doubts) elements of encouraging sensitivity and uncommon intelligence. Please note that I am not on a pedestal judging or believing myself to be a "controller" of others' mental levels. It’s just a nice observation. It took me a little time, but in the end, I’ve cleared some of my doubts, because.....I am a "hard bone". Warmest regards, Adder....and may the light be with us!

It’s a great pleasure for me to see you again, Shine. I will never forget your Tales from the Topographic Oceans. I understand what you write in your post, and as usual, consider me by your side once again in sharing the things you experienced for Rick. I hope you’re doing well. See you soon.

@Blackdog: message received and shared. (without bobtail) I, on the other hand, am still enjoying Steven Stills and Manassas, while the sunsets of late September make me reflect on parts of my (curious) life and... well, yes, on some nice babes. Saludos & Hasta luego. PS: "Kerry" is in honor of Minnear from Gentle Giant?

I’m re-reading Adder's last post and I notice that it converges on the divergence of settings (......).
It saddens me only that one can infer from Adder's experiences that suffering is an essential and necessary condition (just as Fripp, indeed Gurdjieff says) for achieving a purpose. I do not deny this, but I exclude the possibility that it is the only path available. And it is precisely when we manage to glimpse other paths that creative expression reaches its brightest peaks. Bright. And fortunately, there are plenty of examples. The inscrutable governs the fate of the human mind. Sinfield, I believe, helps us quite well, doesn’t he, Adder?

I read your latest comment and it made me smile. It really seems like a dialogue between the deaf. Well, let's continue on our separate paths, shall we... However, I would like to know, aside from the riddles and quotes from exposure, just out of curiosity, how old the reviewer is and what kind of musical experiences and encounters with musicians he has had in his "activity." This is not meant as a provocation, but rather a legitimate desire to know some elements that I consider important. Perhaps a private email would be appropriate at this point. Don't you think so, esteemed reviewer?

I apologize for one last clarification: From my side and from the ongoing and historical contact with musicians, I would also add that the creative process does not necessarily require great "efforts." Although there may be various origins, inspirations, or motivations, if it is spontaneous and authentic, it usually flows with great naturalness, in which case, it's typically possible to grasp the depth of expression immediately (for those who know how to perceive it, of course). I believe it is a common misconception to always link the concept of creativity to the idea of suffering in its birthing process. It is not so. Or at least, not always.

Ah, I almost forgot: as a musician, I believe that the "creativity" of my most beautiful pieces (or at least those that I think are the most beautiful) has NEVER stemmed from personal dramas but, rather, from reaching states of great happiness, if anything. I suppose a myriad of artists could attest to the same fact. You see.

@Dr.Adder: Despite the interesting explanations, it doesn't seem to me that creativity always or necessarily comes with psychological prices to pay. Perhaps costs do. It can happen, but it's not a conditio sine qua non. Moreover, psychologically, bringing up a matter of "demonstration of strength" raises further suspicions. No one asked you to prove anything. You might suspect that someone could expect it, but it doesn't seem that this could be inferred from my intervention, at least. The assumption I referred to was mine, not yours... Curious how, in what I believe is a substantial comment focused on aspects concerning the man/artist, you spent most of your reply defending yourself. From my side, there were no aggressive intentions. Having doubts, yes, I just wanted to test the waters, but now I perhaps have clearer elements for understanding your logic. Furthermore, I don't believe there are objectively "True Artists." There is indeed no mathematical or human law that can support this belief. What is "true" for one person may not be for another in this regard, and vice versa. Finally, I want to clarify that my comment, aimed at shedding light on the subject of the review, was evaluative towards the reviewer and, hopefully, informative. Whether it is constructive will be decided by those who have taken the trouble to follow this little question. Best regards to Adder and his curious space stories.

It is undeniable that the reviewer is well acquainted with Fripp's work and, unfortunately, his not particularly exciting financial troubles with David Enthoven and his partner following the fallout with EG. Nevertheless, Fripp has not been a stranger to collapses, even of a psychological/emotional nature, over the years. His existence has always been marked by "breakdowns" that have generated more or less pronounced psychodramas. Many have not tolerated him for this reason and/or for his style. His psychological instability, linked to a persistent and stubborn mania, has certainly not made life easy for him. The man and the artist often fused, creating worrying débâcles, even for those observing his transitions. I've been following him for over thirty-five years, sometimes in a rather devoted and respectful manner, but I currently notice a certain radicalization of the content. To be fair, he is now of a certain age, and he has written (and quite a few) historical and heroic pages, but I have the impression that he has retreated into a dignified solitude with the Soundscapes, finally abandoning the controversies that have seen him fiercely and often rightly at odds with this and that for decades. Fripp's work is vast and not easy to explain, just like his mental behaviors. The League was a curious, stimulating, and technically singular episode. I saw them in action just before the release of this beautiful album, and they were impressive live (in every sense). The review is also curious and original. I read his reviews with a certain frequency here and there; his riddles are amusing, but I notice, hoping to be wrong, a certain air of condescension stemming from an assumption of deep knowledge of the subject. Naturally, for those reading, I hope that this latter assumption exists in a consistent manner.