Fusion / Post-Fusion Contemporary / World Fusion / Jazz Related Improv/Composition / Pop/Art Song/Folk / Latin Jazz / Jazz Related Rock / Hard Bop / Eclectic Fusion / Bossa Nova • United Kingdom
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In the summer of 97, millions of people were beguiled by an Andy Summers guitar lick, just as they were regularly in the decade previous. A single by a certain rap impresario copped the Police’s “Every Breath You Take,” and the song’s arresting power once again held sway at the top of the charts. Sure Sting wrote the sampled tune, but it was that tolling Andy riff that set it into enduring motion. Since 1986, when the Police left the stage as the biggest rock band in the world, Andy Summers has followed his own muse, cultivating the ambient and improvisatory streaks always evident in his distinctive soundprint. In fact, Andy’s solo albums resonate with a spirit and invention only hinted at by his Police work. Embracing strains of jazz, classical and world music, his records reveal him as an enterprising artist, resolute in his aim to reconcile the accessibility of read more...
Thanks to snobb for the addition and kazuhiro for the updates

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ANDY SUMMERS Discography

ANDY SUMMERS albums / top albums

ANDY SUMMERS I Advance Masked (with Robert Fripp) album cover 3.41 | 6 ratings
I Advance Masked (with Robert Fripp)
World Fusion 1982
ANDY SUMMERS Bewitched (with Robert Fripp) album cover 3.00 | 6 ratings
Bewitched (with Robert Fripp)
Jazz Related Rock 1984
ANDY SUMMERS XYZ album cover 3.50 | 1 ratings
Pop/Art Song/Folk 1987
ANDY SUMMERS Mysterious Barricades album cover 4.00 | 2 ratings
Mysterious Barricades
Jazz Related Improv/Composition 1988
ANDY SUMMERS The Golden Wire album cover 4.00 | 3 ratings
The Golden Wire
Post-Fusion Contemporary 1989
ANDY SUMMERS Charming Snakes album cover 4.50 | 3 ratings
Charming Snakes
Fusion 1990
ANDY SUMMERS World Gone Strange album cover 4.00 | 3 ratings
World Gone Strange
Fusion 1991
ANDY SUMMERS Invisible Threads (with John Etheridge) album cover 0.00 | 0 ratings
Invisible Threads (with John Etheridge)
Post-Fusion Contemporary 1993
ANDY SUMMERS Synaesthesia album cover 5.00 | 1 ratings
Fusion 1995
ANDY SUMMERS The Last Dance of Mr. X album cover 4.00 | 1 ratings
The Last Dance of Mr. X
Fusion 1997
ANDY SUMMERS Andy Summers / Victor Biglione ‎: Strings Of Desire album cover 0.00 | 0 ratings
Andy Summers / Victor Biglione ‎: Strings Of Desire
World Fusion 1998
ANDY SUMMERS Green Chimneys - The Music of Thelonious Monk album cover 4.50 | 1 ratings
Green Chimneys - The Music of Thelonious Monk
Hard Bop 1999
ANDY SUMMERS Peggy's Blue Skylight album cover 0.00 | 0 ratings
Peggy's Blue Skylight
Fusion 2000
ANDY SUMMERS Earth + Sky album cover 4.00 | 1 ratings
Earth + Sky
Fusion 2003
ANDY SUMMERS Andy Summers E Victor Biglione ‎: Splendid Brazil album cover 0.00 | 0 ratings
Andy Summers E Victor Biglione ‎: Splendid Brazil
Latin Jazz 2005
ANDY SUMMERS Andy Summers & Ben Verdery ‎: First You Build A Cloud... album cover 0.00 | 0 ratings
Andy Summers & Ben Verdery ‎: First You Build A Cloud...
Post-Fusion Contemporary 2007
ANDY SUMMERS Andy Summers, Fernanda Takai ‎: Fundamental album cover 0.00 | 0 ratings
Andy Summers, Fernanda Takai ‎: Fundamental
Bossa Nova 2012
ANDY SUMMERS Metal Dog album cover 0.00 | 0 ratings
Metal Dog
Eclectic Fusion 2015
ANDY SUMMERS Triboluminescence album cover 4.00 | 1 ratings
Jazz Related Improv/Composition 2017


ANDY SUMMERS live albums

ANDY SUMMERS demos, promos, fans club and other releases (no bootlegs)

ANDY SUMMERS re-issues & compilations

ANDY SUMMERS A Windham Hill Retrospective album cover 0.00 | 0 ratings
A Windham Hill Retrospective
Post-Fusion Contemporary 1998
ANDY SUMMERS The X Tracks: Best of Andy Summers album cover 0.00 | 0 ratings
The X Tracks: Best of Andy Summers
Fusion 2004

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Album · 2003 · Fusion
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Steve Wyzard

After recording two tribute albums to Monk and Mingus, guitarist Andy Summers returns to his own compositions on 2003's Earth + Sky. By this time in his career, Summers had long since eschewed the pop/commercial sounds that had made him world famous. With a long string of mostly instrumental albums behind him, Summers no longer even had a record label to release his work in the USA (I had to import my copy from Germany).

For all the comparisons Summers receives with guitarists like Robert Fripp and David Torn (both of whom he has recorded with), on Earth + Sky his sound palette is much closer to someone like Kevin Eubanks than ever before. Listen to tracks such as the light and airy "Now I'm Free" or "Return" and you will hear this album leans more toward the jazz end of the spectrum. Then there's his trademark boundary-pushing on the title track (a multi-layered guitar extravaganza), "Circus" (where his bluesy lines are doubled with a saxophone), and "Red Stiletto" with its brash chords that lead to a funky jam. When you hear the opening drum flourish on "Above the World", you can be forgiven for thinking it's Stewart Copeland sitting in. Actually it's Vinnie Colaiuta, who at various times all but steals the aural spotlight away from the other players. Summers is also backed by longtime session bassist Abraham Laboriel and two keyboardists who effectively capture the "Fender Rhodes through a Leslie cabinet" tones that add a touch of fusion timelessness.

Acoustic guitar textures are heard on "Parallels" and "Roseville", and the album closes with the ambient blues of "I Choose You". At 51:08, this album doesn't overstay its welcome, although some listeners might have wanted more of the guitar-synth weirdness found on albums such as 1990's Charming Snakes (which receives my vote as his solo masterpiece). Earth + Sky effortlessly brings Summers into the 21st Century, and his compositions and guitar tones are more relevant than ever. If you are a long-time Summers listener, there is much to enjoy here, and this album is highly recommended.

ANDY SUMMERS World Gone Strange

Album · 1991 · Fusion
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Steve Wyzard

It is an absolute crying shame that Andy Summers's late 1980s-early 1990s albums on the Private Music label are almost forgotten today. All four, though very different from each other, are exquisitely crafted and have stood the test of time very well. 1991's World Gone Strange, the last of the four, attracted some attention due to its special guests (Tony Levin, bass, Chad Wackerman, drums, Eliane Elias, piano/vocals, Mike Mainieri, marimba/producer), but was his last solo project until 1995's Synaesthesia.

For those who enjoyed the envelope-pushing sounds and atmospheres he added to the pop group that made him world-famous, you'll find plenty of that here. Summers has never been known as a "lead guitarist" per se, but World Gone Strange, more than any of his other work, features extensive amounts of his lucid, fluid soloing. A tangible blues influence makes itself known throughout, above and beyond "The Blues Prior to Richard". This is not just aimless studio noodling: the compositions and arrangements are rock solid, with the title track and "Oudu Kanjaira", with its distinct "eastern" feel, remaining in your head long after the album is over. Three percussionists add extra texture, and wordless vocals appear on a few tracks without becoming a major distraction.

"A little too erratic" and "Too jazz for rock, too rock for jazz" were undoubtably the general reactions to World Gone Strange at the time of release. If you are familiar with Summers's matchless style, there's nothing here that can't be easily assimilated and "figured out". This is not an inaccessible avant-garde work, just a headache for marketers who couldn't deal with a true artist who continued to grow, expand, and progress with each album he released. Highly recommended, even in the 21st century!

ANDY SUMMERS I Advance Masked (with Robert Fripp)

Album · 1982 · World Fusion
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If you enjoy that style of interlocking guitar melodies that Robert Fripp pioneered in the early 80s, then you will probably want to get this album. I actually think this album is probably one of his most successful efforts in this area. The difference with this album is the abscence of a rock beat on almost all of the songs, this really allows the guitars to stand out on their own without a loud beat to battle with. Fripp and Summers are heavily influenced by traditional music from around the world on this outing. Most people recognize the influence of Indonesian gamelan on Fripp's music during this period, but there is also a strong African influence as well. Mbira or thumb piano music from Rhodesia seems to be a strong factor in songs like "Painting" and "Dance". Also, the interlocking guitar style of 80s pop bands from what was then known as Zaire seem to be an influence as well. Traditional music from China and Japan are also an influence on this almost classical sounding album.

Although busy guitar work dominates most of the songs on this album, there are some exceptions. "Under Bridges of Silence" is a sombre ambient soundscape and "Girl on a Swing" is a peaceful Asian influenced melody. "In the Cloud Forest" features Fripp playing a free-ranging solo with his classic Frippertronics guitar sound, something I wouldn't expect on an 80s record. Another interesting song is the title track which is one of the few songs with a pronounced drum beat. It sounds like the perfect blend of 80s Crimson and the Police only without the vocals. There are other songs that are in styles that are hard to describe other than that they sound like styles unique to Summers and Fripp.

Another interesting aspect of this album is the way in which it seems to predict the arrival of Math Rock, and to a lesser extent Nu Jazz and Post Rock, years before any of those genres had a name. I think this album is closer to what is called Math Rock today than Fripp's work in the early 80s version of King Crimson.

This is a great album that sounds better everytime I hear it. Summers and Fripp pull influence from clasical music from around the world and ends up with a glimpse of the future.

ANDY SUMMERS I Advance Masked (with Robert Fripp)

Album · 1982 · World Fusion
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Sean Trane
While The Police was a band that rode the Punk bandwagon (Outlandos D'Amour remains one of my Punk reference in the matter), this trio was anything but a punk band that was made of untalented kids trying to have their quarter hour of glory, but not learning the trades of musicianship. Nope, these guys were highly talented with Sting being a jazz bassist in Newcastle circles, while Stewart Copeland had drummed with Curved Air for time But clearly, the better musician was Andy Summers, roughly ten years older than the other two and spending his time since the middle 60's looking for a break. For quite a while his destiny coincided with George Bruno (AKA Zoot Money) with whom he started in the British RnB scene, before forming their psychedelic group Dantalion's Chariot, without much success past their first hit-single. When that ended, Summers joined Soft Machine replacing Daevid Allen, where he apparently connected well with Ratledge and Wyatt, but not at all with Kevin Ayers who didn't like Andy's jazz penchants. He ended up being sacked by Wyatt (Ayers didn't have the balls to do it himself) after an American tour, two weeks before anothertour, this time supporting The Jimi Hendrix Experience. It turns out that Ayers would quit Soft Machine a few months later for his own solo career. So Summers phoned Zoot in LA and was taken immediately into Eric Burdon's New Animals (where Zoot was holding the keys) and Andy spent almost two years in that job, until the group's break up and Burdon joining forces with WAR. Summers then went to Uni and studied music. He resurfaced in England in late 74, and ironically was fairly quickly taken in Kevin Ayers'backing band (probably some guilt involved, here)?. But Andy couldn't find a permanent job either. He ended up helping out a punk band Strontium 90 (helped out by Gong's bassist Mike Howlett), where the French guitarist Henri Padovani was a bit too shallow in the musical department. His arrival helped that group's transformation into The Police? the rest is history?. But when Sting was taking the major songwriting workload, letting only remnants to Summers, Andy started to look elsewhere for his musical satisfactions and working with Robert Fripp was definitely one of his long time wish, that came to fruition in the early 80's. Note that these albums were fairly low-key projects since both had major acts going, Fripp having revived King Crimson at the start of the decade. Sooooo what to say of this album? It doesn't sound like either Crimson or Police, but lots of parts are reminiscent of Fripp's austere Crafty League Of Gentleman/Guitarists (or sumthin' similar to that), but that's not to say that Summers let Fripp steal the spotlight. In terms of instrumentation, both are apparently toying with all instruments, including synths, bass and (African) percussions.

Sonically this album is somewhere between the ambient Fripp (No Pussyfooting and the Frppertronics thing) and the Crafty League Of Guitarists, the result sounding like a typical ECM jazz /new agey album of the 80's. Much of the guitar works come from (or will be used) from CLoG, using those Indonesian scales (some more Far-Eastern influences pervade through as well), and the music never goes really dissonant. While a pleasant and unobtrusive listen, this album will not have you riveted to your seat, but it is also gentle music enough not to irate women, and can even be used as cuddling music with the more open-minded ones, despite a certain austerity.

Not exactly my type of album, but Fripp fans should appreciate, because if the album's role distribution seems very egalitarian (the production being handled by both guitarists), in terms of influence, this is definitely more Frippan than Summersian realm. The better of the two albums they made together, even if the second side of Bewitched is somewhat stronger than I Advance Masked.

ANDY SUMMERS Bewitched (with Robert Fripp)

Album · 1984 · Jazz Related Rock
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Sean Trane
20th Century Schizophrenic Album

Obviously Summers' fascination of Fripp got him a second collaboration album, but this time he produced it himself, and the least we can say is that we indeed hear it right, with a New-Wavey/Police type of production. A vastly different album than its predecessor, Bewitched is very much a product of its time and has not aged well, even if there are traces of great guitar parts throughout the album. One would've hoped that the pop influences would've come from the Discipline-era Crimson, but this is definitely not a major factor in bewitched. Andy and Robert concentrate on guitars and synths on this album (even if Robert Fripp's brother Ertronics appears as well ;o))))), the bass and drums/percussions are handled by friends.

The opening Parade could be a Police track, if it was sung by Sting, and comes with an atrocious 80's sounding drum, but it also comes back in the 11-mins What Kind Of Man Reads Playboy (Robert probably only read the articles ;o)))))), although as I said, there are some wild guitar parts, but the pleasure is ruined by the 80's production and drumming. Anyway, the A-side of the album is a little too 80's poppish for my liking and unfortunately makes this album almost dispensable. Fortunately there is better to come?.

If the first notes and rhythms of Train opening the flipside are just as discouraging as the A- side, the ambiance is much less pop and quite moody, and it is announcing a change of soundscape. The gentle and subtle title track is a bit of a return to the previous I advanced masked. Tribe is the would-be title track (the front cover artwork's name is Tribe) and is very atmospheric (but not like Fripp does it) and Forgotten Steps is very much in the same mould, even if it ends as a solo classical guitar piece. The two compadres hit it solid in Guide, a Spanish-sounding theme which borders Flamenco and it my fave track on the album. The album closes on the ambient and atmospheric Image And Likeness, where the Frippertronics make their usual appearance in a Fripp album, but the Spanish guitar work is again breathtaking. .

Too bad this album is marred by everything we hate about the 80's on the first side, but Bewitched compensates with a very pleasant flipside, making this album an interesting musical psychiatric case. Despite it's unevenness, Bewitched is probably slightly more interesting than Masked, which sounds too much like other Fripp albums, at least compared to this one.

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