Editing Robert Fripp (section)

==Career==
===1967–1974: Giles, Giles and Fripp and King Crimson===
In 1967, Fripp responded to an advertisement placed by Bournemouth-born brothers [[Peter Giles (musician)|Peter]] and [[Michael Giles]], who wanted to work with a singing organist.<ref name=BBC2/> Though Fripp was not what they sought, his audition with them was a success and the trio relocated to London and became [[Giles, Giles and Fripp]]. Their only studio album, ''[[The Cheerful Insanity of Giles, Giles and Fripp]]'', was released in 1968.<ref>{{cite web|author=Cheerful Insanity of Giles Giles & Fripp |url=https://www.amazon.com/Cheerful-Insanity-Giles-Fripp/dp/B000001F74 |title=Cheerful Insanity of Giles Giles & Fripp: Music |website=Amazon |access-date=27 December 2012}}</ref> Despite the recruitment of two further members – singer [[Judy Dyble]] (formerly with [[Fairport Convention]] and later of [[Trader Horne (band)|Trader Horne]]) and multi-instrumentalist [[Ian McDonald (musician)|Ian McDonald]] – Fripp felt that he was outgrowing the eccentric pop approach favoured by Peter Giles, preferring the more ambitious compositions being written by McDonald, and the band broke up in 1968.

[[File:Robert Fripp 2.jpg|right|thumb|upright|Fripp, on tour with King Crimson, in 1974.]]
Almost immediately, Fripp, McDonald and Michael Giles formed the first lineup of King Crimson in mid-1968, recruiting Fripp's old Bournemouth College friend [[Greg Lake]] as lead singer and bassist and McDonald's writing partner [[Peter Sinfield]] as lyricist, light show designer and general creative consultant. King Crimson's debut album, ''[[In the Court of the Crimson King]]'', was released in late 1969 to great success: drawing on rock, jazz and European folk/classical music ideas, it is now regarded as one of the most influential albums in the history of [[progressive rock]].<ref>{{cite web|author=DigitalDreamDoor.com|url=https://digitaldreamdoor.com/pages/best_albumsprog.html |title=100 Greatest Progressive Rock Albums |access-date=5 May 2020}}</ref> The band was tipped for stardom, but, due to growing musical differences between Fripp on one side and Giles and McDonald on the other, broke up after its first American tour in 1970. A despondent Fripp offered to leave if it would allow King Crimson to survive; however, Giles and McDonald had independently decided that the band's music was "more Fripp's than theirs" and that it would be better if they were the ones to leave.

During the recording of the band's second album ''[[In the Wake of Poseidon]]'', Greg Lake departed to form [[Emerson, Lake and Palmer]] with [[Keith Emerson]] of [[the Nice]] and [[Carl Palmer]] of [[Atomic Rooster]]. King Crimson issued two more albums, ''[[Lizard (album)|Lizard]]'' and ''[[Islands (King Crimson album)|Islands]],'' with Fripp and Sinfield the only constants in a regularly changing lineup variously including Gordon Haskell, woodwind player [[Mel Collins]], drummers [[Andrew McCulloch (drummer)|Andy McCulloch]] and [[Ian Wallace (drummer)|Ian Wallace]] and future [[Bad Company]] bassist [[Boz Burrell]], in addition to a palette of guest players. Fripp was listed as the sole composer of the band's music during this time, which built on the first album's blueprint but progressed further into [[Jazz fusion|jazz-rock]] and [[free jazz]] while also taking form from Sinfield's esoteric lyrical and mythological concepts.

In 1971, Fripp ousted Sinfield and took over ''de facto'' leadership of King Crimson (although he has always formally rejected the label, preferring to describe his role as "quality control" or "a kind of glue"). From this point onwards, Fripp would be the only constant member of the band, which in turn would be defined primarily by his compositional and conceptual ideas. With avant-garde percussionist [[Jamie Muir]], violinist [[David Cross (musician)|David Cross]], former [[Family (band)|Family]] bassist and singer [[John Wetton]] and former [[Yes (band)|Yes]] drummer [[Bill Bruford]] now in the ranks, King Crimson produced three more albums of innovative and increasingly [[experimental rock]], shedding members as they progressed: beginning with ''[[Larks' Tongues in Aspic]]'', progressing with ''[[Starless and Bible Black]]'' after Muir's departure and culminating in ''[[Red (King Crimson album)|Red]]'' after Cross was fired. Fripp formally disbanded the group in 1974, in what eventually turned out to be merely the first in a regular series of long hiatuses and further transformations.<ref>{{cite news|url=http://www.ft.com/cms/s/2/f588e100-d7ee-11e1-9980-00144feabdc0.html#axzz2cu9RP95h|archive-url=https://ghostarchive.org/archive/20221210211210/https://www.ft.com/content/f588e100-d7ee-11e1-9980-00144feabdc0#axzz2cu9RP95h|archive-date=10 December 2022|url-status=live|title=The day the music died|url-access=subscription|work=Financial Times|date=3 August 2012|access-date=24 August 2013}}</ref>

===1971–1985: Collaborations, side projects, and solo career===
Fripp pursued side projects during King Crimson's less active periods. He worked with [[Keith Tippett]] (and others who appeared on King Crimson records) on projects far from rock music, playing with and producing [[Centipede (band)|Centipede]]'s ''[[Septober Energy]]'' in 1971 and ''Ovary Lodge'' in 1973. During this period he also worked with [[Van der Graaf Generator]], playing on their albums ''[[H to He, Who Am the Only One]]'' and ''[[Pawn Hearts]]''. He produced [[Matching Mole]]'s ''[[Matching Mole's Little Red Record]]'' in 1972.<ref>{{Cite web |title=Little Red Record:2cd Expanded Edition |url=https://www.cherryred.co.uk/product/little-red-record2cd-expanded-edition/ |access-date=2022-09-09 |website=Cherry Red Records |language=en-US}}</ref> Prior to forming the ''Larks''-era KC, he collaborated on a spoken-word album with a woman he described as "a witch", but the resulting ''Robert Fripp & Walli Elmlark: The Cosmic Children of Rock'' was never officially released.<ref>{{cite web |url=https://www.dgmlive.com/news/perry-fripp-eno |author=Sid Smith |title=Perry, Fripp & Eno |website=dgmlive.com|date=April 2014 }}</ref><ref>{{cite interview |first=Robert |last=Fripp |interviewer=Ihor Slabicky |title=Robert Fripp Would Like a Word |url=https://trouserpress.com/robert-fripp-would-like-a-word/ |date=18 Oct 1974 |work=[[Trouser Press]] |location=New York |access-date=17 Mar 2021}}</ref>

With [[Brian Eno]], Fripp recorded ''[[(No Pussyfooting)]]'' in 1972, and ''[[Evening Star (Fripp & Eno album)|Evening Star]]'' in 1974. These experimented with several avant-garde musical techniques that were new to rock. On "The Heavenly Music Corporation" from No Pussyfooting, Fripp used a [[Delay (audio effect)|delay]] system using two modified [[Revox]] A77 reel-to-reel tape machines. The technique went on to play a central role in Fripp's later work, and became known as "Frippertronics".<ref>{{Cite web |date=2022-08-06 |title=Frippertronics: how Robert Fripp and Brian Eno brought looping to life |url=https://happymag.tv/frippertronics/ |access-date=2022-09-09 |website=Happy Mag |language=en-US}}</ref>

In 1973, Fripp performed the guitar solo on "[[Baby's on Fire]]" from Eno's solo album ''[[Here Come the Warm Jets]]''. In 1975, Fripp and Eno played live shows in Europe, and Fripp also contributed guitar solos to Eno's 1975 album ''[[Another Green World]]''.<ref>{{Cite web |title=The Quietus {{!}} Features {{!}} Anniversary {{!}} Brian Eno's Another Green World, Revisited By William Doyle |url=https://thequietus.com/articles/19387-another-green-world-brian-eno-review-anniversary |access-date=2022-04-07 |website=The Quietus |language=en-us}}</ref>

Fripp started what was intended as a permanent sabbatical from his musical career in 1975, during which he studied at [[John G. Bennett|J. G. Bennett]]'s International Academy for Continuous Education, becoming interested in the mystical and philosophical ideas of Bennett's teacher [[George Gurdjieff]]. He returned to musical work the following year as a session guitarist on [[Peter Gabriel]]'s [[Peter Gabriel (1977 album)|debut solo album]], released in 1977. Fripp toured with Gabriel to support the album, but used the pseudonym "Dusty Rhodes" and concealed himself on stage.<ref>{{cite web |url=http://www.elephant-talk.com/discog/fripp/indexu.html |title=Robert Fripp Discography: Other Unauthorized Releases |publisher=Elephant-talk.com |access-date=19 February 2012 |archive-url=https://web.archive.org/web/20071011040818/http://www.elephant-talk.com/discog/fripp/indexu.html |archive-date=11 October 2007 |url-status=dead }}</ref>

Fripp also produced and played on Gabriel's [[Peter Gabriel (1978 album)|second album]] in 1978. "Robert is particularly skilful at keeping things fresh, and I like that a lot," Gabriel enthused. "I was very interested in Robert's experimental side; that corresponded exactly to what I wanted to do on this second record… There are two ''(Fripp)'' solos: one on 'On the Air' and the other on 'White Shadow'. And then he plays on 'Exposure'. He gives the colour to this piece, being fifty per cent responsible for its construction. And he also plays classical guitar here and there. He's a musician I admire a lot, because he's one of the only ones to mix discipline and madness with so much talent."<ref>''Best'' magazine, May 1978; translated in Gabriel fanzine ''White Shadow'' (#1, pp13) by editor Fred Tomsett</ref>

In 1977, Fripp played on [[David Bowie]]'s album ''[["Heroes" (David Bowie album)|"Heroes"]]'' at Eno's invitation. Fripp soon collaborated with [[Daryl Hall]] on ''[[Sacred Songs]]''.<ref>{{Cite news |last=Power |first=Ed |title=The hidden, avant-garde side of Eighties hit machine Daryl Hall |url=https://www.irishtimes.com/culture/music/the-hidden-avant-garde-side-of-eighties-hit-machine-daryl-hall-1.4836105 |access-date=2022-04-07 |newspaper=The Irish Times |language=en}}</ref>

During this period, Fripp began working on solo material, with contributions from poet/lyricist Joanna Walton and several other musicians, including Eno, Gabriel, and Hall (including the latter's partner, John Oates), as well as [[Peter Hammill]], [[Jerry Marotta]], [[Phil Collins]], [[Tony Levin]] and [[The Roches|Terre Roche]]. This material eventually became his first solo album, ''[[Exposure (Robert Fripp album)|Exposure]]'', released in 1979, followed by the ''Frippertronics'' tour in the same year.<ref>{{Cite web |last=Live |first=D. G. M. |date=2007-11-27 |title=Robert Fripp, 1st of January 1980 at Arny's Shack |url=https://www.dgmlive.com/tour-dates/1103 |access-date=2022-09-09 |website=DGM Live |language=en}}</ref>

While living in New York, Fripp contributed to albums and live performances by [[Blondie (band)|Blondie]] (''[[Parallel Lines]]'') and [[Talking Heads]] (''[[Fear of Music]]''), and produced [[The Roches]]' first and third albums, which featured several of Fripp's characteristic guitar solos. A second set of sessions with Bowie produced ''[[Scary Monsters (and Super Creeps)]]'', and he collaborated with Gabriel again on [[Peter Gabriel (1980 album)|his third solo album]]. With Blondie, Fripp appeared live on stage at the Hammersmith Odeon on 12 January 1980, participating in a cover version of Bowie's {{"'}}Heroes{{'"}}.

In 1980, Fripp would release ''[[God Save the Queen/Under Heavy Manners]],'' a project that saw two different musical approaches to Frippertronics on one LP. The "A" side of the record, titled "God Save the Queen" attempted what Fripp referred to as "pure Frippertronics" which is "where Frippertronics is used alone."<ref>{{Cite book |last=Fripp World H.Q. |url=https://sinistersaladmusikal.files.wordpress.com/2013/08/100_7028.jpg |title="Frippertronics is defined as..." |publisher=Polydor |year=1980 |archive-url=https://web.archive.org/web/20230621190732/https://sinistersaladmusikal.files.wordpress.com/2013/08/100_7028.jpg |archive-date=21 June 2023}}</ref> The "B" side of the record, titled "Under Heavy Manners" featured a collaboration with bassist [[Busta Jones]], drummer Paul Duskin, and [[David Byrne (musician)|David Byrne]] of Talking Heads (as Absalm el Habib).<ref>{{Citation |title=Robert Fripp - God Save The Queen / Under Heavy Manners |year=1980 |url=https://www.discogs.com/release/561797-Robert-Fripp-God-Save-The-Queen-Under-Heavy-Manners |access-date=2022-06-01 |language=en}}</ref> The sounds of this side of the record featured what Fripp called "Discotronics" which was defined as "that musical experience resulting at the interstice of Frippertronics and disco."<ref>{{Cite web |last=Fripp |first=Robert |date=1980 |title="Discotronics is defined as ..." |url=https://sinistersaladmusikal.files.wordpress.com/2013/08/100_7034.jpg |archive-url=https://web.archive.org/web/20230621191059/https://sinistersaladmusikal.files.wordpress.com/2013/08/100_7034.jpg |archive-date=21 June 2023 |access-date=21 June 2023}}</ref>

Concurrent to this, Fripp would assemble what he called a "second-division touring new wave instrumental dance band"<ref>{{cite web |url=https://www.allmusic.com/artist/robert-fripp-mn0000238440/biography |title=Robert Fripp: Biography |last=Deming |first=Mark |website=Allmusic.com |access-date=21 May 2020}}</ref> under the name [[League of Gentlemen (band)|League of Gentlemen]], with bassist [[Sara Lee (musician)|Sara Lee]], keyboardist [[Barry Andrews (musician)|Barry Andrews]] and drummer [[Johnny Elichaoff]] (credited as "Johnny Toobad").  Elichaoff was later replaced by Kevin Wilkinson. The LOG toured for the duration of 1980.

In 1985 he produced the album ''Journey to Inaccessible Places'' by classical pianist [[Elan Sicroff]], released on the [[Editions E.G.]] label.<ref>{{Cite web|url=https://www.sicroff.com/|title=HOME : Elan Sicroff|website=Sicroff.com|access-date=10 August 2024}}</ref>

===1981–1984: Reforming King Crimson===
[[File:-Possible Productions knotwork- by Steve Ball.svg|thumb|Later versions of ''Discipline'' featured this design by Steve Ball.]]
1981 saw the formation of a new King Crimson lineup, reuniting Fripp with Bruford and opening a new partnership with two American musicians: bassist/[[Chapman Stick]] player [[Tony Levin]] (who had played with Fripp on ''Exposure'' and in the first Peter Gabriel touring band) and [[Adrian Belew]], a singer and guitarist who had previously played with Bowie, Talking Heads and [[Frank Zappa]]. Although the band had been conceptualised under the name Discipline, it came to Fripp's attention that the other members thought the name King Crimson was more appropriate: for Fripp, King Crimson had always been "a way of doing things" rather than a particular group of musicians. With the more pop-inspired Belew as main songwriter (complementing Fripp as main instrumental composer) the band took on a new style incorporating influences from Indonesian [[gamelan]], [[New wave music|new wave]], and [[Minimal music|classical minimalism]],<ref>{{Cite web |title=King Crimson: Disciplined Beats 1981-4 |url=http://www.jazzshelf.org/kc80s.html |access-date=2024-06-09 |website=Jazzshelf.org}}</ref> with both guitarists experimenting extensively with guitar synthesizers.<ref>{{Cite web |title=“They introduced guitar synthesizers to the scene”: Steve Vai names one thing “people don't realise” about King Crimson |url=https://guitar.com/news/music-news/steve-vai-king-crimson-guitar-synth/ |access-date=2024-06-09 |website=Guitar.com {{!}} All Things Guitar |language=en-GB}}</ref> After releasing three albums (''[[Discipline (King Crimson album)|Discipline]]'', ''[[Beat (King Crimson album)|Beat]]'' and ''[[Three of a Perfect Pair]]''), Fripp dissolved the band in 1984.

During this period Fripp made two albums with [[Andy Summers]] of [[The Police]]. On ''[[I Advance Masked]]'', Fripp and Summers played all the instruments. ''[[Bewitched (Andy Summers and Robert Fripp album)|Bewitched]]'' was dominated more by Summers, who produced the record and collaborated with other musicians in addition to Fripp.

In 1982 Fripp produced and played guitar on ''[[Keep On Doing]]'' by the Roches.<ref>{{Cite web |date=2017-01-24 |title=Maggie Roche: The Hidden Heart of The Roches |url=https://www.pastemagazine.com/music/the-roches/maggie-roche-the-hidden-heart-of-the-roches/ |access-date=2022-05-06 |website=pastemagazine.com |language=en}}</ref> ''[[Village Voice]]'' rock critic [[Robert Christgau]] wrote that the album "sounds so good I'm beginning to believe Robert Fripp was put on earth to produce the Roches."<ref>{{cite web|url=http://www.robertchristgau.com/get_artist.php?id=1532&name=The+Roches|title=The Roches|website=RobertChristgau.com|access-date=27 April 2023}}</ref>

===Guitar Craft===
[[File:Claymont Court Front Entrance.jpg|thumb|The first Guitar&nbsp;Craft course began 25 March 1985 at the [[Claymont&nbsp;Court]] site in [[Charles&nbsp;Town, West&nbsp;Virginia]].<ref>{{harvtxt|Tamm|2003|p=[http://www.progressiveears.com/frippbook/ch10.htm 127]}}</ref>]]
{{Main|Guitar Craft}}
Fripp was offered a teaching position at the American Society for Continuous Education (ASCE) at Claymont Court in [[Charles Town, West Virginia]] in 1984. He had been involved with the ASCE since 1978, eventually serving on its board of directors, and had long been considering the idea of teaching guitar through ideas derived from Bennett and Gurdjieff. His course, Guitar Craft, was begun in 1985, an offshoot of which was a performance group, "the League of Crafty Guitarists", which has released several albums. In 1986, he released the first of two collaborations with his wife, [[Toyah Willcox]]. The members of the [[California Guitar Trio]] are former members of The League of Crafty Guitarists and have also toured with King Crimson. Fripp is the patron of the [[Guitar Craft#Community|Guitar Circle of Europe]], which was founded in 2007,<ref>{{Cite journal|url=http://www.guitarcircleofeurope.com/index.html|publisher=Guitar Circle of Europe|title=Home|journal=Guitar Circle of Europe|access-date=19 November 2011|url-status=dead|archive-url=https://web.archive.org/web/20111216182059/http://www.guitarcircleofeurope.com/index.html|archive-date=16 December 2011}}</ref> and of the [[Guitar Craft#Community|Seattle Circle Guitar&nbsp;School]], which was founded in 2010.<ref name="SCGS">{{Cite journal|title=A Few Words from the Patron|first=Robert|last=Fripp|journal=Seattle Circle Guitar School|url=http://seattlecircle.org/guitarschool/a-few-words-from-the-patron/ |access-date=19 November 2011}}</ref>

In February 2009, Fripp recommended that Guitar Craft cease to exist on its 25th anniversary in 2010.<ref>{{cite web|url=http://dgmlive.com/diaries.htm?entry=13491|title=Saturday, 14th February 2009|department=Robert Fripp's Diary|publisher=Discipline Global Mobile|place=Bredonborough|access-date=19 February 2012<!-- authorlink=Robert Fripp -->|url-status=dead|archive-url=https://web.archive.org/web/20120218212036/http://www.dgmlive.com/diaries.htm?entry=13491|archive-date=18 February 2012}}</ref>

On 1 September 2022 Fripp published ''The Guitar Circle'', a book of writings concerning Guitar Craft.<ref>{{cite web|url=https://www.dgmlive.com/news/the-guitar-circle-book-by-rf-on-its-way|title=The Guitar Circle Book by RF|date=22 August 2022 |publisher=Discipline Global Mobile|access-date=10 September 2022}}</ref>

===Soundscapes===
{{BLP unreferenced section|date=July 2024}}
Fripp returned to recording solo in 1994, using an updated version of the Frippertronics technique that creates loops employing digital technology instead of analogue tapes. Fripp has released a number of records that he called "soundscapes", including ''1999'', ''Radiophonics'', ''A Blessing of Tears'', ''That Which Passes'', ''November Suite'', ''The Gates of Paradise'', ''Love Cannot Bear'' and ''At the End of Time'', as well as numerous download-only live recordings. (The sampler ''Pie Jesu'' consists of material compiled from ''A Blessing of Tears'' and ''The Gates of Paradise''.)

===1990s collaborations with David Sylvian and others===

Fripp's collaborations with [[David Sylvian]] feature some of his most exuberant guitar playing. Fripp contributed to Sylvian's twenty-minute track "Steel Cathedrals" from his ''[[Alchemy: An Index of Possibilities]]'' album of 1985. Then Fripp performed on several tracks from Sylvian's 1986 release, ''[[Gone to Earth (David Sylvian album)|Gone to Earth]]''.

In late 1991, Fripp had asked Sylvian to join a re-forming King Crimson as a vocalist.<ref name="SYLVIAN & FRIPP REISSUED"/> Sylvian declined the invitation, but proposed a possible collaboration between the two that would eventually become a tour of Japan and Italy in the spring of 1992.

Also in 1991, Fripp released an album with the project Sunday All Over The World, also featuring his wife Toyah Willcox, former League of Crafty Guitarists member [[Trey Gunn]] on Chapman Stick, and drummer Paul Beavis. The prior name of this band was Fripp Fripp, and they toured as such in 1988. They renamed to SAOTW, and toured again as SAOTW, in 1989.<ref>{{Cite web|url=https://api.discogs.com/artists/670919|title=Sunday All Over The World|website=Discogs.com|language=en|access-date=8 February 2019}}</ref>

In July 1993, Sylvian and Fripp released the collaborative effort ''[[The First Day (David Sylvian and Robert Fripp album)|The First Day]]''. Other contributors were soon-to-be King Crimson member [[Trey Gunn]] on [[Chapman Stick]] and Jerry Marotta (who, like Sylvian, almost became a member of King Crimson) on drums. When the group toured to promote the CD, future King Crimson member [[Pat Mastelotto]] took over the drumming spot. The live document ''Damage'' was released in 1994, as was the joint venture, ''Redemption – Approaching Silence'', which featured Sylvian's ambient sound sculptures (Approaching Silence) accompanying Fripp reading his own text (Redemption).<ref name="SYLVIAN & FRIPP REISSUED">{{Cite news|url=https://www.dgmlive.com/news/sylvian-fripp-reissued|title=Sylvian & Fripp Reissued|date=13 June 2014|work=DGM Live|access-date=6 October 2017|language=en}}</ref>

During the early and mid-1990s Fripp contributed guitar/soundscapes to ''[[Lifeforms (The Future Sound of London album)|Lifeforms]]'' (1994) by [[the Future Sound of London]] and ''[[Cydonia (album)|Cydonia]]'' (released 2001) by [[the Orb]], as well as ''[[FFWD]]'', a collaborative effort with the latter's members. In addition, Fripp worked with Brian Eno co-writing and supplying guitar to two tracks for a CD-ROM project released in 1994 entitled ''[[Headcandy]]'' created by Chris Juul and Doug Jipson. Eno thought the visual aspects of the disc (video feedback effects) were very disappointing upon completion, and regretted participation. During this period, Fripp also contributed to albums by [[No-Man]] and [[The Beloved (band)|the Beloved]] (1994's ''[[Flowermouth]]'' and 1996's ''X'', respectively). He also contributed soundscapes and guitar to two albums by the UK band [[Iona (band)|Iona]]: 1993's ''[[Beyond These Shores]]'' and 1996's ''[[Journey into the Morn]]''.

===1994–2010: King Crimson redux===
[[File:King Crimson - Dour Festival 2003 (01).jpg|thumb|Trey Gunn, Adrian Belew, and Fripp from 2003 King Crimson]]
In late 1994, Fripp re-formed King Crimson for its fifth incarnation, adding Trey Gunn and Pat Mastelotto to the 1980s quartet in a configuration known as a "double trio". This line-up released the ''[[Vrooom|VROOOM]]'' EP in 1994 and the ''[[Thrak|THRAK]]'' album the following year.

Though musically and relatively commercially successful, the double-trio King Crimson proved difficult to sustain in the long-term. From 1997 to 1999, the band "fraKctalised" into five experimental instrumental sub-groups known as [[ProjeKcts]]. By 1998 Bruford had quit the band altogether: in 2000, Fripp, Belew, Gunn and Mastelotto reunited as a four-piece King Crimson. This lineup produced two [[industrial metal]]-influenced studio albums, ''[[The Construkction of Light|the construKction of light]]'' in 2000 and ''[[The Power to Believe]]'' in 2003.

Gunn departed at the end of 2003. Although Levin immediately returned to replace him, another hiatus followed until King Crimson reappeared in 2007 with the addition of [[Porcupine Tree]] drummer [[Gavin Harrison]]. This version of the band toured the eastern United States in 2008, reassessing the 1981-2003 back catalogue and introducing lengthy duets between the two drummers. No new original material was recorded by this line-up, and in 2010, Fripp announced that King Crimson were on another indefinite hiatus.<ref>{{cite web |url=http://www.dgmlive.com/diaries.htm?entry=18729 |title=Sunday, 5th December 2010 |department=Robert Fripp's Diary |publisher=Discipline Global Mobile |place=[[New York City]] |access-date=16 July 2011 |url-status=dead |archive-url=https://web.archive.org/web/20130927135039/http://www.dgmlive.com/diaries.htm?entry=18729 |archive-date=27 September 2013  }}</ref>

===Work with G3, Porcupine Tree, Slow Music, Theo Travis, the Humans and others===
In 2004, Fripp toured with [[Joe Satriani]] and [[Steve Vai]] as part of their [[G3 (tour)#2004|G3]] series. He also worked at [[Microsoft]]'s studios to record the startup sound for [[Windows Vista]]. Fripp designed the soundscape and composed the melody, while [[Tucker Martine]] created the rhythm and Microsoft's Steve Ball added the harmonies and created the final arrangement.<ref name="vista">{{cite web
|url=http://channel9.msdn.com/showpost.aspx?postid=151853
|title=Robert&nbsp;Fripp-Behind the scenes at Windows&nbsp;Vista recording&nbsp;session
|date=12 January 2006
|access-date=29 April 2006
|work=Channel 9
|publisher=Microsoft
|archive-date=6 May 2008
|archive-url=https://web.archive.org/web/20080506193340/http://channel9.msdn.com/Showpost.aspx?postid=151853
|url-status=dead
}}</ref><ref name="vista2">{{cite web
|url=http://channel9.msdn.com/showpost.aspx?postid=287615
|title=Making Windows&nbsp;Vista sing: Robert&nbsp;Fripp and the Vista melody
|date=2 March 2007
|work=Channel 9
|publisher=Microsoft
|access-date=3 March 2007
|archive-date=13 February 2008
|archive-url=https://web.archive.org/web/20080213063227/http://channel9.msdn.com/showpost.aspx?postid=287615
|url-status=dead
}}</ref>

{{quote box|width=33%|quote=this interesting factoid: in addition to 200 million Vista users with the 4 note splash, an extract from the Soundscapes' Vista sessions is estimated to strike up 91% of 32 trillion times on the new MS Mail programme this year. So, one of the planet's least popular music forms will also be the planet's most sounded in 2008. This has to be some kind of a record.|source=Fripp's online diary at dgmlive.com<ref>{{cite web|url=http://www.dgmlive.com/diaries.htm?artist=&show=&member=3&entry=12444|title=Saturday, 8th November 2008|department=Robert Fripp's Diary|publisher=Discipline Global Mobile|place=[[Redmond, Washington|Redmond]]|url-status=dead|archive-url=https://web.archive.org/web/20140109061120/http://www.dgmlive.com/diaries.htm?artist=&show=&member=3&entry=12444|archive-date=9 January 2014|df=dmy-all}}</ref>}}

In late 2005 and early 2006, Fripp joined [[R.E.M.]]/[[Nine Inch Nails]] drummer [[Bill Rieflin]]'s improvisational Slow Music project, along with R.E.M. guitarist [[Peter Buck]], bassist [[Fred Chalenor]], session drummer [[Matt Chamberlain]] and [[Hector Zazou]] on electronics. This collective of musicians toured the west coast of America in May 2006.

In 2006 Fripp contributed his composition "At The End Of Time" to the Artists for Charity album ''[[Guitarists 4 the Kids]]'', produced by Slang Productions, to assist [[World Vision International|World Vision Canada]] in helping underprivileged children.<ref name=AFCGFTK>{{cite web|title=Slang Productions - Guitarists 4 the Kids|url=http://slangproductions.com/artists-for-charity-guitarists-4-the-kids.html|publisher=Slang Productions|access-date=30 March 2014|date=11 September 2006}}</ref> Throughout 2006, Fripp performed many solo concerts of soundscapes in intimate settings in churches around England and Estonia.<ref>{{cite web |url=https://dgmlive.com/diaries/Robert%20Fripp/dgm-hq-a-grey-day-12-210916 |title=Robert Fripp's Diary: DGM HQ. |first=Robert |last=Fripp |date=30 March 2007 |website=dgmlive.com}}</ref> In October 2006, ProjeKct Six (Fripp and Adrian Belew) played at select venues on the east coast of the U.S.,<ref>{{cite web|url=http://www.dgmlive.com/<!-- /diaries.htm?entry=13491 --> |title=News |publisher=Dgmlive.com |access-date=19 February 2012}}</ref> opening for Porcupine Tree. In the same year, Fripp contributed to two songs from [[Porcupine Tree]]'s ''[[Fear of a Blank Planet]]'' ("[[Way Out of Here]]" and "[[Nil Recurring]]"). Fripp also sporadically performed as an opening act for Porcupine Tree on various tours from 2006 through 2009.
[[File:Robert_Fripp.jpg|alt=Robert Fripp|thumb|Fripp in 2007]]
In 2008, Fripp collaborated with [[Theo Travis]] on an album of guitar and flute-or-saxophone duets called 'Thread', and the duo played a brief English tour in 2009 (repeating the collaboration with the ''Follow'' album in 2012). Also in 2009, Fripp played a concert with the band [[The Humans (British band)|the Humans]] (which consists of his wife [[Toyah Willcox]], [[Bill Rieflin]] and Chris Wong), appeared on [[Judy Dyble]]'s ''[[Talking With Strangers]]'' (along with Pat Mastelotto and others) and played on two tracks on [[Jakko Jakszyk]]'s album ''The Bruised Romantic Glee Club''. In 2010, Fripp contributed a guitar solo to an extended version of the song '[[Heathen Child]]' by [[Grinderman]], released as a B-side on the 'Super Heathen Child' single.

In 2021, the ambient/electronica album Leviathan was released. Fripp produced it and played guitar, in collaboration with British [[electronic dance music|EDM]] Duo [[The Grid]].{{Citation needed|date=July 2024}}

===''A Scarcity of Miracles'', musical 'retirement' and new lineup of King Crimson===

In May 2011, Jakko Jakszyk, Robert Fripp and Mel Collins released ''[[A Scarcity of Miracles|A Scarcity of Miracles: A King Crimson ProjeKct]]'' on the Panegyric label. The album also featured contributions by Tony Levin and Gavin Harrison, leading to speculation that the project was a dry run for a new King Crimson lineup.

In an interview published 3 August 2012, Fripp stated that he had retired from working as a professional musician, citing long-standing differences with [[Universal Music Group]] and stating that working within the music industry had become "a joyless exercise in futility".<ref>{{cite web |last=Hunter |first=Ludovic |url=http://www.ft.com/cms/s/2/f588e100-d7ee-11e1-9980-00144feabdc0.html#ixzz25mEnRslA |archive-url=https://ghostarchive.org/archive/20221210211226/https://www.ft.com/content/f588e100-d7ee-11e1-9980-00144feabdc0#ixzz25mEnRslA |archive-date=10 December 2022 |url-access=subscription |title=The day the music died |publisher=FT.com |date=3 August 2012 |access-date=27 December 2012 |url-status=live }}</ref><ref>{{cite web|url=http://www.planetrock.com/news/rock-news/king-crimsons-robert-fripp-quits-music-biz/ |title=King Crimson's Robert Fripp Quits Music Biz &#124; Rock News &#124; News |publisher=Planet Rock |date=7 September 2012 |access-date=27 December 2012}}</ref> This retirement proved to be short-lived, only lasting as long as it took to come to a settlement with UMG.

In his online diary entry for 6 September 2013, Fripp announced the return of King Crimson as a seven-piece unit with "four Englishmen and three Americans". The new lineup was Fripp, Levin, both Mastelotto and Harrison on drums, returning 1970s band member Mel Collins and two new members: [[Jakko Jakszyk]] as singer and second guitarist, and Bill Rieflin as a third drummer.<ref>{{cite web|url=http://www.dgmlive.com/diaries.htm?entry=24091|title=Friday, 6th September 2013|department=Robert Fripp's Diary|publisher=Discipline Global Mobile|place=Bredonborough|access-date=24 September 2013|url-status=dead|archive-url=https://web.archive.org/web/20140328224034/http://www.dgmlive.com/diaries.htm?entry=24091|archive-date=28 March 2014}}</ref> This version of the band went on tour in 2014 and 2015 with a setlist reworking and reconfiguring the band's 1960s and 1970s material (plus songs from ''A Scarcity of Miracles'' and new compositions). In early 2016, it was announced that former [[The Lemon Trees|Lemon Trees]]/[[Noel Gallagher's High Flying Birds|Noel Gallagher]] drummer Jeremy Stacey would substitute for Rieflin on that year's tour while the latter was on sabbatical. King Crimson continued touring as a seven- or eight-piece unit with Stacey as a permanent member on drums and keyboards, plus Rieflin (when available) on keyboards and "fairy dusting" until 2021. Rieflin last played with Crimson in 2018; he died 24 March 2020.<ref>{{Cite web |date=2020-03-25 |title=Seattle musician Bill Rieflin of King Crimson, R.E.M. dies at 59 |url=https://www.seattletimes.com/entertainment/music/seattle-musician-bill-rieflin-of-king-crimson-r-e-m-dies-at-59/ |access-date=2024-06-09 |website=The Seattle Times |language=en-US}}</ref>