When the innovative guitarist Andy Summers from The Police collaborated with Robert Fripp, the visionary behind King Crimson, they set out to explore new musical horizons, bringing their unique styles together for an exciting creative endeavor.

“At that time, we were just having fun in the studio, experimenting with everything and creating exotic sounds,” Summers shares in an enlightening interview with UCR. “It really reflects the spirit of the era.” Their collaboration resulted in two remarkable albums: 1982’s I Advance Masked and 1984’s Bewitched. To their astonishment, they discovered a receptive audience eager to hear their instrumental works. “The first album even made it into the Billboard Top 50, which was incredible for an instrumental project.”

The extensive collection titled The Complete Recordings 1981-1984 compiles all their musical endeavors into a remarkable 3 CD / 1 Blu-ray box set. This comprehensive release is courtesy of Summers, who meticulously preserved two-inch analog masters of all their recorded material. Surprisingly, he uncovered a wealth of previously unreleased tracks, which led to the creation of a third album, Mother Hold the Candle Steady. “I was genuinely shocked that we had never utilized these recordings,” Summers reflects. “We must have been very selective about what we released, but the unreleased material is really impressive and constitutes a legitimate third album.”

In a recent conversation, Summers delved into his enriching partnership with Fripp.

How did your initial encounter with Robert Fripp unfold?
It’s quite an interesting question! Both of us hail from the same town, Bournemouth, in England. We frequented the same guitar shop during our youth. I know Robert was a regular there, but I can’t recall if we met back then. It was a small town, and I was one of the local guitarists, while he was another notable figure. Our paths eventually crossed in New York one afternoon at a photographer’s apartment, where we casually discussed potential collaborations without even picking up guitars. We simply said, “Let’s give it a try,” and decided to use a friend’s recording studio, Arny’s Shack. We didn’t have a clear plan, but as experienced musicians, we instinctively began improvising, exchanging ideas like, “If you play that, I’ll complement it with this,” which led to a fluid and organic creative process.

Listen to Andy Summers and Robert Fripp’s ‘Skyline’

What piqued your interest in collaborating with Robert, given your prior knowledge of his work?
Well, I was well aware of Robert’s reputation as the iconic guitarist behind King Crimson, known for his extraordinary contributions to music. He was adept at navigating various musical scenarios, especially in the studio, which mirrored my own experiences. While he had a distinct style characterized by complex polyrhythmic guitar lines, my approach was broader, encompassing a wider variety of musical genres. My goal was to harness his unique style and layer it with my own harmonic chords and rhythmic patterns. Once we recognized our complementary strengths, creating music together became a seamless process, resulting in the albums that emerged from our collaboration.

Reflecting on your albums together, it’s evident that both of you share a passion for sonic experimentation. How did your approaches align?
Absolutely. Our creative environment was very open during that period in the ’80s, a time ripe for musical exploration. Advancements in guitar pedal technology were transforming the landscape, fueling our desire to experiment with sounds that were still fresh and uncharted. I’m proud that we pushed the envelope and produced groundbreaking work with those two albums, marking our place in music history.

In your collaboration, were there moments where you found yourself in awe of Robert’s playing? What sparked your curiosity?
The straightforward answer is that it was all in Robert’s technique. He possessed a unique skill set and impressive speed, which is often referred to as having “good chops” in musician circles. However, he faced challenges playing in standard 4/4 time; his inclination leaned toward complex time signatures like 5/4. I recognized this as his signature style, and it became a foundation for our sonic exploration. I felt that his playing formed the framework of our compositions, while I added layers and textures to flesh out the sound, creating dynamic pieces that showcased our collaborative spirit.

The title track from I Advance Masked highlights the captivating process you both engaged in while crafting these songs. Can you share your thoughts on that?
Creating music with Robert was an enjoyable experience. We may not have seemed like the most conventional pairing of guitarists, but the beauty of it was that we both had guitars in hand, ready to explore soundscapes. With musical taste guiding us, we navigated changes like, “I see you altered that quarter note at the beginning.” It was about engaging with music intellectually and emotionally, discerning what resonated with us. Our collaboration produced a distinct sound, an ethos that set us apart from others, resulting in a unique musical identity.

Watch Andy Summers and Robert Fripp’s Video for ‘I Advance Masked’

Collaborations between musicians are always intriguing. Having produced numerous records, including 15 solo albums and various collaborations, I approach each project with an open mindset. I strive to discover what each artist brings to the table without imposing heavy expectations. My goal is to avoid clichés and seek creativity. Particularly in Los Angeles, while many musicians possess technical skills, not all excel in composition or imaginative music-making. I aim to break away from conventional jazz/rock clichés and collaborate with those who can elevate the music’s vision. Recently, I created two solo albums entirely on my own, playing all instruments, which felt liberating compared to directing other talented musicians away from their usual styles. The process of creating music is always an interesting journey.

What current projects are you pursuing?
I’ve recently returned from an extensive tour, having performed in Japan, Australia, and New Zealand. Now, I’m taking a breather before heading to South America in July and August, with more shows scheduled for September and October. My recent solo performances have involved a multimedia experience, featuring photography projected on a large screen, which has been well-received in Australia and Japan. Each performance lasts about two hours, blending solo guitar with backing arrangements, alongside engaging narratives. I look forward to continuing this format and am eager to get back into the studio to work on new music, which is my primary focus right now.