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The Bridge Between


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Audio CD, August 15, 1994
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The Bridge Between + Wine of Silence + At the End of Time: Churchscapes Live in England
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Product Details

  • Audio CD (August 15, 1994)
  • Number of Discs: 1
  • Label: Discipline Global Mobile
  • ASIN: B000005ONK
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #163,882 in Music (See Top 100 in Music)

1. Kan Non Power
2. Yamanashi Blues
3. Hope
4. Chromatic Fantasy
5. Contrapunctus
6. Bicycling To Afghanistan
7. Blue
8. Blockhead
9. Passacaglia
10. Threnody For Souls In Torment

Editorial Reviews

Customer Reviews

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Most Helpful Customer Reviews

23 of 23 people found the following review helpful By A Customer on January 2, 1998
Format: Audio CD
Those who know of Robert Fripp only by his reputation as the genius behind King Crimson, the band known for extended song structures and blistering guitar chords, which has resurfaced in different incarnations from the 1970s through the present, may be surprised to hear him playing JS Bach tunes with a group of sidemen who have every bit the passion he has for precision, finesse, and expressiveness. "The Bridge Between" teams Fripp and Stick/Warr Guitarist Trey Gunn (also of King Crimson) with three acoustic guitarists (Bert Lams, Paul Richards, Hideyo Moriya) in a set of ten instrumental pieces, of which each member of the quintet is represented as the composer, in addition to the aforementioned JS Bach. Together, this ensemble plays seamlessly yet without sounding over-rehearsed or overdubbed. Their compositions range from the insistent, odd-metered "Kan-Non Power" to the bluesy ("Yamanishi Blues"), and a brash yet refined treatment of the Bach "Chromatic Fantasy". A mid-disc segue, "Blue" conveys a feeling of lament and latent anger, which leads directly to the compelling, urgent "Blockhead" composition. "Threnody for Souls In Torment", the final piece, finishes the disc with a sense of sublime, pensive finality. END
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16 of 16 people found the following review helpful By JG Miller on November 15, 2002
Format: Audio CD
This unique collection will not necessarily work for everyone and I should immediately confess that I am especially fond of Robert Fripp's guitar work, a prominent feature of this album. I tend to think of this as experimental music and much of it is, but the presence of three pieces by J.S. Bach, played not all that radically far from Bach's intentions, belies that as a general characterization. Most of it was recorded live during 1993 public performances but it does not sound like a live album. Post-performance overdubs have been added, one of the Bach tracks was recorded in its entirety in the studio, and there is no annoying crowd noise. Describing what the material sounds like is challenging because electronics are employed to expand the kinds of sounds electric guitars can make. At times one is convinced of the presence of keyboards, harpsichords even, but they just are not there.
The music is often rhythmically intense and emotionally bright: The quintet sound like they are having fun. But then we have the closing track, "Threnody for Souls in Torment" which is 13 agonizing minutes of arrhythmic, atonal desolation, while "Hope" provides a rhythmically muted and tender passage with a subtle (and I think clever) melodic hook. The subdued "Blue" contains a direct reference to the song "Starless", a King Crimson gem from that band's 1974 album Red. I bought The Bridge Between when it was released in 1993 having never heard a note and have never regretted the purchase. Taken as a whole, it sounds unlike anything else that I own and I hear something new each time I play it.
Frippertronics, as defined by Fripp, is "that musical experience resulting at the interstice of Robert Fripp and a small, mobile and appropriate level of technology, vis.
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12 of 14 people found the following review helpful By Manny Hernandez HALL OF FAME on March 17, 2004
Format: Audio CD
As much as I can see this album being a marriage of two rather distinct styles, with pieces delving into two different areas, I don't see it as weak, or laking coherence, as other reviewers find.
One side of the equation is made up of Bach and baroque explorations by Fripp's quintet. Whoever deems Bach's music as ambient or soft, simply needs to go back to the drawing board, specially because we're talking scales which in most cases were meant for keyboards, not for strings, taking the pieces to a totally new level of complexity (something that Fripp has never ran away from).
The other component of the album sounds more like your typical straight-up King Crimson type of haunted material, where there's a healthy dose of "high speed persecution" feel and paranoia built into the music (not the best combination to drive under stress, for example, but an excellent pumper-upper). However, without the rhythm backbone of KC, with strings alone, the music takes on an altogether different spirit: while it retains its darkness, it has a body that you can certainly touch and feel more comfortable with.
My favorite being the third track ("Hope"), which combines a bit of both worlds, with some scales on top of classic Fripp soundscapes, this 'solo' work by one of rock's biggest experimenters is a highly recommended album for prog rock fans and music adventurers at large as well.
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2 of 2 people found the following review helpful By R. C. Fisher on October 9, 2009
Format: Audio CD
I have enjoyed this CD for years now, returning to it on occasion to again appreciate the delight of 5 guitar virtuosos playing complex and compelling music. The Bach pieces are nothing short of amazing, showing a respect for the Master and yet giving his music a bright new sound.

Unfortunately, the 13-minute "Threnody for Souls in Torment" is too long, too atonal, and too indulgent for my taste, but it's at the end of the CD, so it's somewhat easier to skip. The rest of the album is worth the price.

Go for it.
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