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We don’t usually think of the sky affording shelter. It’s usually bringing weather, and often the wrong kind of weather, for crops, animals and humans. So what is it sheltering us from? In Paul Bowles novel, “Behind the sheltering sky is a vast dark universe, and we’re just so small”. My memory of this piece is that is started as an improvisation that was recorded, but never trust a musician’s memory. Robert Fripp focused on a section of it and moulded it into the fuller piece you hear here.
I found my small wooden ‘box’ in a tourist shop in California and parted with, I think, 25 USD for it. Robert wasn’t very keen on much of my sound or style at the time, but this was right up his street. The box was liquid, semi-pitched, limited dynamic, faintly exotic, reminiscent of an African slit drum (or log drum), evocative of Bowles’ story which takes place in Algeria. More importantly for Fripp, it chattered away quietly in his background and didn’t ‘interfere’. It had a happy life and featured on several songs: King Crimson’s ‘Discipline’, ‘The Sheltering Sky’ and ‘Two Hands’; Earthworks’ ‘White Knuckle Wedding’; and probably others I’ve forgotten.
Sheltering Sky is a slow burner. It takes it’s time to open. Doesn’t seem like there’s much happening, but it invites you to listen again, to pay attention to detail, to listen below the surface. The focus shifts between Robert and Adrian, but nothing could quite be called a solo, more sheets of sound. And when they’re both at it together it’s a powerful, handsome sound; some of their best collaborative, spontaneous guitar playing IMO.
It's all about an atmosphere. For me, it’s the slow rising of the early morning desert sun, comfortable at first with Adrian’s figure (0’47”) and the initial melody (I’45”), through to the inevitable and insufferable searing heat of midday at about 7 minutes. The late afternoon appears at around 8 minutes as things cool down over the last couple of minutes. The minimal tune – no more than a couple of phrases - re-appears (8’43”). Then a reverse order of exit. Fripp is magnificent as he snarls, burns and growls his way out of the picture (10’12”). The stick-bass ceases, Adrian’s hypnotic figure fades into the sunset and log drum wraps it up. in
My contribution was both musically minimal and structurally foundational – constant and consistent throughout. I was just happy not to interfere. Love this piece, and priviliged to have been a part of its creation.
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