Here’s a clip of cool-as-the-other-side-of-the-pillow guitarists Andy Summers (the Police) and Robert Fripp (King Crimson) with the title track off of their 1982 collaboration, the instrumental I Advance Masked
It may seem to many that these two players were hoeing different rows of the pop music pumpkin patch. By 1981-82 when this track was recorded at Fripp’s Dorset England home studio, Summers was a part of the biggest band in the world with several hit singles behind him and many in front. Fripp was a part of rock’s intelligentsia, having founded progressive rock’s first tier band King Crimson while also serving as something of a technical wunderkind to other artists like David Bowie, Brian Eno, and Peter Gabriel.
Yet, the two men shared something of a passion for exploration in the field of instrumental music, and the nature of avante-garde improvisation. Yet, they were not interested in what had gone before as far as guitar albums went. They wanted to present the guitar as a textural instrument, an instrument that can allow for an atmosphere, rather than just to lay down a bunch of flashy rock solos. As a result, the record wasn’t what a lot of rock fans expected, of course. Yet, it sets out what it’s designed to do, which is to set up each piece as something of a mood, and the suggestion of a landscape or locale, with ambient sounds being as important to the whole as the melody lines are.
After recording I Advance Masked, and its follow-up, Summers and Fripp would stick to their instrumental paths, even if their respective bands would be sidetracked. Both the Police and King Crimson would dissolve by the mid-80s, in Fripp’s case because he was the primary mover of his band, with the King Crimson name being more about his own vision for an approach to music, rather than a stable group. Outside of the Police, Summers would make a career out of instrumental albums, bringing in rock, jazz, and ambient sounds, which he plays with here. And Fripp would continue collaborations with other artists such as David Sylvian, Steve Wilson of Porcupine Tree, The Orb, and with musicians in temporary groups like the League of Gentlemen and the League of Crafty Guitarists.
When I bought the album, I was surprised by how few reference points I had for it. I wasn’t sure about it. But, then a lot of the subtleties began to come through for me. There are a lot of jarring moments on this album. They were experimenting, after all. But, there are also moments of absolute, crystalline beauty which makes me wish they’d made a few more albums together.
For more information about Andy Summers, check out Andysummers.com.
And for information about Robert Fripp, check out this interview with him that among other things discusses his meticulous (to say the least!) approach to collaboration.
Enjoy!
The Delete Bin 
A friend of mine was a huge Robert Fripp fan and had this one on his shelf. I had a really hard time enjoying it on the first listen (being the music simpleton I am) but gave it a chance and subsequently was able to appreciate it. That Andy Summers, what a guy.
Hi Kelly,
Thanks for comments.
This is not a pop album, which I discovered much like you. But, again like you, it reveals itself after a while. One of my favourite pieces on the record is the wonderful ‘Girl on a Swing’ which is really evocative of the title, but also reveals a lightness of touch, when either player could have gone well over the top. The whole record is like that, full of restraint, and avoidance of cliche. Like I said, sometimes it’s jarring, because they were hacking around (in a skilled, muso sense of course). But, it is unique, and very unexpected too, which to me makes it appealing.
Thanks again for comments, Kelly.