Forum - Add your comment
James Donegan - 8/19/2008 8:24:37 AM
Hello Bill, I just saw two shows of King Crimson at the Nokia Theater In Time Square, NY. I must say your spirit and influence was working overtime as Pat and Gavin teamed up to produce what I can only discribe as a 21st century percussion sonic orgasm. I hope you have the chance to witness this yourself if you have not already done so.
Lastly, the shows made me reflect on the many tandems in the annals of history that without the nature their symbiotic relationship we all would be far less fortunate. Ali-Frazier, Miles-Coltrane, Shorter-Zawinul, Lennon-McCartney, etc. I beleive that the Fripp-Bruford tandem fits very firmly amongst those pairings. God Bless James
michael sliwkowski - 8/8/2008 8:04:43 PM
Hey Bill,
Longtime listener, first time caller. I was wondering if you had heard any of Ian Wallace's Crimson Jazz Trio record? Despite the fact it is kind of a forced exercise, Ian's playing is pretty fresh and seemed particularly strong on numbers associated with you like Starless and Red, as if he really respected the original work. Shame he passed on. I think Yes and the Wallace Crimson shared a gig before you joined. Did you remember anything about that really strange formation of Crimso? Wallace and Mel Collins sound good in retrospect, and in a funny way I always thought of Easy Money as kind of an abstract take on the funky/bluesy version of the band that came before it. And I would also like to complement you on your tasteful (and swinging) playing over the years. I can think of no better praise than to say I was playing Roy Haynes CD in a music store and someone asked if that was Bill Bruford playing? I said no, but I'm sure Bill would be honored that you thought of him in that context.
Looking forward to your book
Michael S. USA
J. D. Mack - 8/7/2008 5:38:13 AM
Bill, thank you for answering my question. And thank you for stating your very kind return policy. I just wanted to let you know that I had not yet purchased the remastered edition of "The Bruford Tapes," but was basing my question on reviews that I had read.
Jose Duque - 8/6/2008 4:52:02 AM
Dear Mr. Bruford.
Hope the summer time off has been an enjoyable one, we all need that type of decompression.
Not sure if I can qualify my questions as such, but here we go.
On your Bruford band era, a particular piece comes to mind, "Forever until Sunday". It does haunts me due to its beautiful melody, on the record performed on violin, and the Bruford goes to college DVD, Mr. Hollsworth, does a great rendition of the opening melody, not to mention the solo!!.....just to be followed beautifully by Mr. Stewart on synth. But I digress, my question, is that melody of your authorship?...or is it a collaborative effort of the band?. It's interesting , at least for me, that at the beginning of that band, it was very clear and easy to determine which compositions where completely yours and which a collaborative effort. However to the very last works of the band , one could hear, that melodies, harmonies and arrangements were more intertwined, more cohesive as a group. On Forever Until Sunday, it's hard to discern who wrote the tune
..that tune has remained one of my all time favorite from the Bruford band era.
My second question, has to do with "if summer has its ghosts"
..another album that surprised me, particularly no only for the players chosen to record with you(Towner & Gomez), but also cause of its timing, considering that you just were coming from a Crimson tour. The sound of the "Summer Ghost", hit me hard, as I was expecting a more aggressive sound, but was pleasantly in awe to hear such a wonderful album filled with beautiful melodies and compositions. One can hear and incredibly mature Bruford as a writer, not to mention as a subtle and delicate player. Was this Album a sort of preparation , or road test of sorts, to pave the way for the new incarnation of Earthworks??..."a part and yet apart" came not too long after that
so that made me think on that topic
..
If I were to blame somebody for wanting to be a drummer who also write its own music, I would, say
..just blame it on Mr. Bruford. Thank you for so many years of pure inspiration Mr. Bruford
..my deepest respects and friendship
albeit virtual.
Jose Roman Duque
Tony - 8/4/2008 7:41:33 AM
Did it Feel Good to Me? Well, I certainly felt something as a first year uni student back in the late 70s. A spark? A bridge to other things? A broadening of interest away from Prog meant that I too had branched out my listening tastes to acts like Brand X, Eberhard Weber and Chick Corea.
Still, on this debut the band were taught and tight as a nut and curiously competitive especially with the Allan Holdsworth /Dave Stewart duelling on the title track and If You Can't Stand The Heat. Crisp, snappy production underpinned by the distinctive rhythmic ring-ding of Brufords snare and Jeff Berlins virtuoso growling, bending bass. If you wanted an album with people who intended to shine on all fronts, this opener by a drummers band was a revelation.
Minor point for me was Annette Peacock's contribution meandering, cerebral jazz vocal noodlings which just about put paid to the album. Shes a distinctive vocalist who just didnt work in this underpants-tight combo. Curiously though, Adrian Belew adopted a similar styling, which works well circa Bills Crimson Discipline.
This is the starting point on the road from prog to where Bill is today and so I see the album as a group of supremely talented people all trying to grab the wheel of a speeding bus as it swerves over a high, narrow bridge.
This isnt Brufords finest album. The follow-up, One Of A Kind, allowed the band to settle into a style and flesh out those ideas that had been sketches on FGTM. And the best part for me was in the same year seeing Bruford and Brand X sharing the same bill at Liverpool University. The boys went like the clappers that night, and its the first time Id ever seen an entire drum kit sway in time with the groove. Now that did feel good.
However, Im as sick as a parrot not to have been at Ronnie Scotts.
Cheers Bill.
Eric "Doc" Smith - 8/2/2008 4:15:37 PM
Hello Bill!
Your faithful California fan from BeyondChron.org and the concert in Bath last summer, (I know how pronounce Stonehenge now!)...
Last night I was in Healdsburg, CA, dining with my childhood friend, guitarist Paul Bollenback and his Magic Trio featuring Chris McNulty and their keyboardist, Andrei Kondakov!! Your name came up and Andrei then mentioned the performance in St. Petersburg! Small world indeed... He said he really enjoyed playing "Original Sin" and Speaking in Wooden Tongues!
Will there be any recordings from that show? It sounded like it was great show! Thanks!
ps. Andrei and Paul will be coming to the Pizza Express in London soon!
Bill - 8/2/2008 1:42:31 AM
Bill,
I can remember three distinct instances in my 24 years when my music appreciation unexpectedly evolved. The first was when I was 5; I heard that surly, amorously-driven riff in "Black Dog" and Zeppelin IV became my first cassette tape. The next was when I was 11; a relative's music collection included Leonard Bernstein's rendition of Tchaikovsky's Sixth, and beyond the energetic fun of Zeppelin's driving chords and time changes came melody to synchronize with my heart, its inflection like a mother's voice.
Thirteen years passed, and with them came new artists, old artists, but no artist whom unsteaded my footing as twice before. Then, four months ago, I stumbled upon "Sample & Hold" by pure chance, the fortune of someone's audio labelling blunder. The song finished, I replayed it. Repeat. Incredible--until that moment, percussion never assumed center stage in my mind. So the quest began:
"The drummer's name is Bill Bruford. Hmm, drummer for Yes... King Crimson... Bruford, of course... Earthworks...," and thus marked the beginning of a spending spree that didn't end until I had every work (well, almost) attributable to you. As an aside, and for whatever it's worth (not much by this novice's ear), my favorite bit of drumming would be somewhere between Yes' "Heart of the Sunrise," Crimson's "One More Red Nightmare," and probably by its credit as my introduction to your work, "Sample & Hold."
So, why this lengthy message? A lifelong love of music, and I've yet to pick up an instrument. When I start, though, where would I first gravitate? I think the answer is too obvious. By showing me what drumming *can* be you've demonstrated an instrument that, to me, acts as the leading hand in a dance; firmly rooted in the present, confidently lending to the sentiment of the moment while also leaning in a forward movement, suggesting a direction and pace that surprises and delights. It's a hand that identifies the immediate emotion and expands from there, selecting a tempo in harmony with the speed at which the heart would dwell upon such things, were they spoken rather than set to melody. Some believe a drummer should be unobtrusive, a metronome that runs on boredom instead of batteries. What a waste.
I could certainly laud you with thanks and compliments, felicitations for future endeavors, and so on; why, I do! But, the impetus for writing all this began with this in mind: every person, in doing what they love, reflect warmly upon the one whom first acquainted them with their craft. The humor is one of friendship; the artist illustrates a feeling and finds agreement in the listener, one that ignores specific opinions and philosophies secondary to the matters of the heart--the human condition, varied as it comes. And in this friendship's anonymity perhaps lies a blessing: like the maxims in a book one can go to again and again to seek affirmation, so does the work of our favorite artists lease us bit of sympathy from time to time; sensibility in sound, untarnished by the messy proceedings of daily life. And with every ounce of earnesty in my body it'd be my pleasure to return the favor, should the courtesy have never been offered before. From one Bill to another:
Mr. Bruford, I agree, and I, too, understand.
With utmost regards,
Bill
Brent Sanderson - 8/1/2008 6:58:15 PM
Mr. Bruford,
In response to your question of who outside of Picasso has offered fresh directions after turning 60, I would say Ornette Coleman. He released a new album called Sound Grammar in 2006, and it is exquisite. The recording shows him experimenting with a line up of sax, drums, and two basses (one bowed, one plucked). Not an expressly stated chord in sight!
Duncan Parsons - 8/1/2008 6:17:31 AM
Hi Bill. Many years ago I remembered seeing you on a BBC programme 'Rock School', and loved it to bits. It was a rare gem at the time, and sadly I didn't recorded it.
However.. it would seem to have appeared on YouTube! Astonishing! Both you and Allan Holdsworth reunited by juxtaposed interviews - I didn't remember him being on, as it goes.
It's interesting to hear what you played - early Earthworks snippets, etc (similar to the Yes 25 years video, where you can be heard playing the 'Hotel Splendour' riff whilst everyone is setting up).. and how is it you have always managed to look 10 years younger than your physical age??? It comes across in this video again.
Anyway, whilst I know you're not one for looking back, some of the posters to your forum might be, so the links are:
http://jp.youtube.com/watch?v=XKX1Fu6JyZ4 [including Up North sounds]
http://jp.youtube.com/watch?v=ZS5X_fv_8LE [with a precis of The Bridge Of Inhibition]
Hope Ronnies was a blast for you :-)
ATB
Duncan
Nobuhiko Arioka - 8/1/2008 12:54:27 AM
Dear Bill
Hello.
I have a small question. You have told in many interviews that jazz is where you started your career. But when you were in King Crimson, you didnft play the Mirrors section of g21st Century Schizoid Manh in jazz style like Michael Giles and Ian Wallace did. Why??
Yours Sincerely
J. D. Mack - 7/30/2008 5:45:43 AM
Bill, I am new to your blog, so please forgive me if this question has been asked and answered before.
When Winterfold Records first announced the upcoming reissue of "The Bruford Tapes," it was said that it would be a double CD. I was very excited by this, as I would love to hear the whole show without the fadeouts. But when "The Bruford Tapes" was finally released, it was the same as the original album/CD, with a bonus track. What happened to the plans to release this as a double CD?
J. D.
Russell Whitworth - 7/29/2008 12:32:33 AM
p.s. In two weeks' time we'll be on holiday in Philadelphia, coinciding (and it really is entirely be coincidence) with King Crimson appearing there. I've got tickets, of course. What a great summer it is turning out to be for music!
Russell Whitworth - 7/29/2008 12:29:11 AM
I'm not very good at writing reviews, but I just wanted to record how much Sandra & I enjoyed ourselves at Ronnie Scott's last night.
Each incarnation of Earthworks has its own character, and this one comes across as the most fun, playful and accessible.
Gwilym Simcock (piano) and Laurie Cottle (bass) are new to me, joining front-man Tim Garland who has been in Earthworks for five years now. Each of the new members bring a distinct sound. Gwilym is not only a superb pianist (of course), but also plays french horn - which has brought back some of the horn/sax arrangements of the original Earthworks (okay, so that was tenor horn - but the effect is similar). Gwilym is also fond of finding effects inside his piano - muting and plucking the strings. At one point I thought I heard him bend a note... is that possible with a piano?
Bass player Laurie Cottle doubles up on trombone, so at times we had an all-brass band! More importantly, his electric bass brings a new feel to this version of Earthworks - sometimes soft and subtle, sometimes times firm and powerful, and even sometimes a more funky feel. One piece (unannounced, possibly new?) was built around a BLUE-like bass riff.
Bill, of course, was superb, and a pleasure to watch at close quarters in Ronnie's. He looked like he was enjoying himself.
As I said, I'm not much good at writing reviews so I'll leave it at that. If anyone reading this still has a chance to get down to Ronnie Scott's tonight or Wednesday, please don't miss it.
James Donegan - 7/22/2008 7:49:27 AM
I had sent a check 3 mos prior to the release to Moby Disc Records, a record importer in Sherman Oaks, Ca. Not knowing the title, I simply instructed them to ship me the Bill Bruford solo album upon it's release. Just having been playing drums for a year, I was immediately confounded by the shiting time signatures however, and I could tell that the harmonic/melodic choices were meticulously labored over. The existential lyrical approach was thoughtful and enjoyable.
The recording's clarity of sound, precision and great emotion gave strong insight in to capturing Bill's personality and approach toward art, at a time of no blogs, my spaces or mystery unraveling media.
Stephen Vivona - 7/21/2008 4:15:18 PM
Thanks for soliciting our feedback about our first listening to Feels Good To Me. I clearly remember coming across the album by chance the summer of 1978 when I was in a record store in New Jersey. I bought it as I was a huge fan of Yes and I had seen Bill drum with Genesis in 1976 at The Beacon Theater in New York (a great show!). I got home and put it on the turntable and listened to the entire album. I immediately liked it. The songwriting was great, the band was excellent and Bill's drumming was phenonmenal! But, I'll try (as requested by the invite) not to gush too much. Mostly, I recognized that he had taken a new direction and that it was very new sounding yet perfectly "Brufordish." To me, it was clear that Bill was moving music forward, not sitting on the past and exploiting what worked in the past. I have seen Bill a number of times with his own bands, with UK, and with Yes on the ONION (oops, Union) tour and he has always done just that...move music forward. Feels Good To ME DID feel good to me. It STILL feels good to me. It is a wonderful album (ok,ok, I AM gushing now...I'll stop). Thanks Bill!
Jay Kuhn - 7/19/2008 1:15:08 PM
How big of a nightmare were "Close To the Edge" sessions to get through? I say that :) because (its one of my favorites) and
its very complex, not just the songs, but I can imaging editing the transitions, sequencing, mixing decisions, ect. from song to song and everyone having their say ;)
Fantastic drumming on that album, not just the very complex
parts like the first song but on the Siberian song, great feel
on that. it's stuck with me for all these years.
And what a suprise to learn Rick Wakeman was such a comedian.
He liked to eat on stage. A friend saw him at Pine Knob in Michigan (cant remember the year), he was eating a sandwich during the gig. And I think he got fired for hiding behind his
keyboards and eating curry. Jon Anderson was singing some part that didnt have keyboards, when his verse or whatever ended, he turned to Rick and said "CURRY!!!". I think Rick got fired after that. ;) I like that whole eating on stage thing. :)
Sure, let the guitar player take the long solo (like on Spinal Tap), I could catch up on reading, maybe with wi-fi, check email. :)
again, as aways, thanks for your hard work, innovative ideas and actually communicating with your fans.
Jay
Oleg - 7/16/2008 6:38:12 PM
Thank you Bill for your frankness! I'm sure, many russians will be glad to see you again when the weather becomes good.
Best regards!
howard lane - 7/16/2008 5:03:00 AM
I was in stick heaven when I found Pro-Mark's Bill Bruford signature sticks, especially the rounded tips. But the tips wear and lose definition too quickly, and sadly I can't afford to keep replacing them! I guess you have a bigger budget for that, Bill. Peter Erskine's Ride Sticks are a near-perfect substitute and seem to last better. Great drummers endorse great sticks - no surprises there.
Jim Rhoads - 7/15/2008 1:34:33 PM
I've always wondered how you came to play drums with the St. Louis band Pavlov's Dog on their second album "At The Sound Of The Bell?" I've always assumed it was a studio session and that you were never actually a member of the band. I don't remember you getting any writing credits and the drums on the record sound like they were heavily muffled which doesn't sound like you at all. Did you have any input on the songs? Did you have any input on that drum sound? I like you're playing on the record, but the drum sound was so dead. No ring on the snare at all.
Any other info about your time playing with this band would be much appreciated. I've read many interviews with you from the 70's to present and have never heard you talk about this album or band.
Thanks,
Jim Rhoads - www.myspace.com/jimrhoadsaction
Dale Davison - 7/14/2008 10:28:20 AM
Hello Bill. I was wondering if there are any recordings of you playing with Gong, and also how you came to play with them? Also, have you ever broken any Paiste Cymbals during your career?
Thanks,
Dale
Rich - 7/12/2008 6:13:13 AM
I was just listening to my Crimso tape @ the Roxy in Hollywood back in 1981. I couldn't help myself from laughing when I heard someone say "Hey Billy!, You forgot your Hi-Hat!"
Matthew Baker - 7/8/2008 9:09:25 AM
Bill:
Hello. Do you have any favorite gigs that were recorded with Crimson in the 73-75 era? I just picked up the Mainz gig and was amazed at how cohesive the band sounds (of course The Crims always sounded great). I especially appreciate the fact that the band would explore new territory live.
Thanks,
Matt
Austin Kaiser - 7/4/2008 9:35:50 AM
Hello Bill,
I have a few more questions that I hope will tickle your fancy.
1) The first Earthworks album is a superb recording, and one of my favorites from your catalog. Could you offer a few thoughts on that album and what it means to you as a musician?
2) When you and Patrick Moraz were working together in the mid Eighties, did the two of you ever swap Yes stories?
3) Alex Van Halen has cited you as a major influence and singled out your "Master Strokes" compilation as one of the ten most important albums in his evolution as a musician. Do you know Alex personally? Are you familiar with his drumming?
Best,
Austin
Adam D. - 7/3/2008 9:02:31 AM
Hi Bill-
I've been listening to your "In Two Minds" CD which I love, and on the track "From The Source, We Tumble Headlong," you seem to be using a mounted tambourine on your snare drum. I loved how it responded to whatever you played on the snare. What kind of tambourine/model did you use for it, and how exactly did you mount it?
Also (not sure if you'll be able to answer this one), on "Conference Of The Bees," did Borstlap actually sample your log drum playing in real time? Once he comes in, his synthesizer actually sounds like distorted samples of your log drum timbres. Whatever he did, it sounded great, and I also loved your playing on the track!
Hope you are having a good summer. Take care!
Michael OConnor - 7/2/2008 3:33:54 PM
Out of all your compositions and contributions which one would you say has the most technically difficult drum part to play; is there a song/rhythm out in your repertoire that you would have to really hunker down in order to play "correctly" every night? I guess I am asking have you ever been able to intimidate yourself with a rhythm of your own?
Have there ever been any songs on your solo projects or Earthworks in which another member in the group had essentially written the rhythm/drum part that was something challenging for you?
michael oconnor
USA
MattM - 6/28/2008 9:31:25 AM
Bill,
Didn't mean to come off as snobby toward Ms. Houston in my post re: the Arista anniversary show. Thanks for responding in spite of it.
On a completely unrelated topic, I am curious to know if you are a fan of any particular film music and/or composers. I am a soundtrack buff myself, and am always amazed at how the score for a film (when done well) can radically alter the audience response, or even make the visuals seem secondary. Any thoughts?
Thanks,
MattM
James Donegan - 6/27/2008 8:57:14 AM
Bill, again thank you for this brilliant, benevolent site.
I would like to add my continuing music education experience as hopefully a help to others. After 30 years of playing and studying drums and a legitimate amount of piano,I decided to take an ear training course.The one I have almost completed is by David Burge called " The Relative Pitch Ear Training Course" I am not soliciting this particular material however, I have found the expeience of culturing the ear as rewarding, if not more than playing in 21/8. I have heard you echo similar sentiments about developing the ability to hear the dominant chord turnaround ect. and how keen hearing is so important to what we play.I appreciate your comments and wish you well.
byrne - 6/27/2008 1:08:34 AM
Hi Bill,
I have followed your career for over 30 years, good to see you as vital as ever. I may be crossing a line here, but what the heck. You and a certain Yes bass player seem to have had more than your share of differences over the years, and you have been quoted in interviews saying some less than flattering things about Mr. Squire, mostly about his work habits. I am curious about the FISH OUT OF WATER record, was that an unforeseen gig in the sense that you never saw yourself working with him again? I have listened to that record, which is quite good, and you really added something to the mix. Did you view that as "just a paycheck" or did you really make your best effort to contribute something worthwhile to the sessions? (it sounds like you did the latter). Sorry if this is getting too personal, but I know a lot of Yes fans think the Squire/Bruford combo was the best, and it saddens us to see "bad blood" between idols.
Marlon - 6/26/2008 1:43:10 PM
Bill,
First of all I would like to thank you for being such an inspirational source. Your wit and charisma could take any drummer to the next level. Your sense of humor is absolutely amazing. There is a video on youtube of you playing a solo, and during this solo you noticed that a guy was walking away to another room (probably a bathroom). You stopped during the solo just to laugh at him and henceforth everyone else laughed too. Absolutely amazing. And there is also another solo that you did in Chile where in the middle of playing some random sensibilities you took a second to raise your hand towards your mouth and lick your fingers. Being a owner of your dvds and studying you performances somewhat immensely, I can say that this is something you do often. For some reason it cracks me up when you do this in the middle of your solo. Im not sure if this is some tried and true alternative to grip tape but it sure looks cool when you do it. Even cooler than stick twirling. We live in an age of stick twirlers/jugglers and underaged prodigies. For all the people that can not ever or wont ever do the stick twirling thing, at least we have drummers like you to remind us that its ok to just play drums the regular way. Speaking of the regular way, I have never seen you use the traditional grip at all. In the jazz world the traditional grip seems like the bonafide technique but you seem to completely bypass that. Could it be because you have such an extensive background in rock drumming that you just adapted that to your jazz technique. Also you have a second ride cymbal on the left side but you still use your right hand to play it, crossing over your left hand, almost as if it was your hi hat in the regular position. Then there is Billy Cobham who has his ride and hi hat on the left and he plays them with his left hand, which seems like a completely ambidextrous effort which would take me years to get used to. For a drummer like me, it is nice to see a master drummer like you who still plays with the standard grip and plays a right handed drumset like a right handed fellow. No frills or twirls or juggling, just honest playing. The only thing is your drumset is a rather unconventional method of setting up the kit, but it works marvelously. Then again you have always set yourself apart from the rest in this way. In an earlier blog you were saying something about you not having a prolific technique, which I beg to differ. But if that has to be the case, then at least you make up for it in just about every other area. Last question, for a drummer to begin to tread towards the compositional route, what tools have you found necessary to make this happen. Do you have a specific computer program to aid you with composing or do you do everything by hand? Thank you for your time and your contributions.
Scott - 6/25/2008 2:33:28 PM
Hello Bill,
How did you find the experience with Neil Peart and the other heavy hitters from the drum world during the "Burning for Buddy" sessions? Even with the big band arrangement, "Lingo" sounded like an Earthworks tune. Was it originally intended for to be on an Earthworks release?
Russell Whitworth - 6/25/2008 4:04:10 AM
Bill (and readers),
It's good to see that you've been dragged - was it kicking and screaming? - into the 21st century with a fully-functioning multimedia website/blog/guestbook/thing. I know you were somewhat sceptical about the power of the internet and the musician/audience relationship when we spoke some 10 years ago... I wonder what your views are now?
Incidentally, my eldest son Stewart, now aged 17, has taken up drumming - and I'm sure meeting you and seeing you perform played some part in that. Of course he hates most things that his dad listens to, so jazz isn't on the playlist yet. He does occasionally -- willingly -- listen to some of your Crimson work. Give it another 10 or 20 years, perhaps.
Sorry I haven't had the opportunity to come and see you for some time now... I do keep an eye on the upcoming dates, but I just haven't been in the right place at the right time.
Regards,
"Russell from Greece (not that I've been to Greece for 10 years!)", ex-Scotland, now Guildford.
Joao Froes - 6/19/2008 4:41:15 PM
Hi, Bill.
I was listening to my Japanese copy of "Sound of Surprise" and there is a bonus track there, entitled "The Sound of Surprise," a great piece. I thought I could hear in there a sound which was similar to an electric piano or electric keyboard, running through the whole track. Do you remember what instrument was that, which (I assume) Steve Hamilton played? And, do you have any plans to come down to my hometown of Sao Paulo to play again? Your fans here would be delighted, and I would surely look forward to being on the front row again, as in 2002. Best, Joao Froes
Tarquin - 6/19/2008 3:17:38 PM
Hi all,
Just got back from a very enjoyable evening with the Steve Howe Trio in Brighton. Steve mentioned what a wonderful drummer Bill was, and how sad he'd been when he left Yes.
Bill, he hopes you'll drop in tomorrow night if you're free (a sentiment echoed by Dylan afterwards).
Kevin - 6/19/2008 2:42:11 PM
Hello Bill, I read about your upcoming gig in St. Petersburg and was wondering if you're going to release a DVD of the show? I would buy it in a minute!!! A CD at the very least, or maybe even DVD/CD like Avishai Cohen did on As Is... Live At The Blue Note. I realize this kind of thing is not always practical, but it can't hurt to ask. Thank you for the great music on In Two Minds! Cheers!
Nav Jhaj - 6/18/2008 6:38:13 AM
Hey,
So, Django Bates (someone I honestly would not have heard of but for his association with Bill) is scheduled to have a new big band record ("Spring is Here, Shall We Dance?") out on June 23rd. Here's a preliminary glowing review, the reviewer calling it his best record yet:
http://www.allaboutjazz.com/php/article.php?id=29419
I look forward to picking this up. This guy definitely flies under the radar, but is well worth checking out. Alas, I imagine that U.S. distribution may be spotty---you can pretty much forget about perusing through your typical, brick and mortar, big box store's jazz collection, as with the demise of Tower and truncation and inventory pruning at Border's, these really no longer exist to any meaningful extent. Check that: a quick query uncovered the useful fact that Bates has a website, and one can order the CD there. This is obviously becoming the business model for the 21st century..
condor - 6/17/2008 1:54:02 PM
Greetings Bill!
Enjoyed the heck out of the "free" DVD/Interview, thank you.
Question:
Volume I of the Anthology DVD, the tune "Youth" you played an odd coloured floor tom (blu/aqua)to the right side of the kit. What's the story behind it, if there is one to tell...
Cheers!
MattM - 6/16/2008 11:11:06 AM
Hi, Bill. Thanks for having very kindly responded to the questions I've posted thus far. Here's an odd one for you.
I worked as a member of the production staff at the Arista Records fifteenth anniversary show at Radio City Music Hall in NYC in early 1990. You and the rest of the ABWH crew performed at the show, offering up a fun medley of "Sweet Dreams," "Brother of Mine" and "Roundabout," and I had a great time watching the rehearsals. I recall crossing paths with Tony Levin backstage and surprising him simply by knowing who he was!
In any event, during the actual show, Whitney Houston was the performer immediately preceeding the ABWH performance. You were in the green room at the time, as was I, as the crowd was giving Ms. Houston a generous helping of applause...And I overheard you saying something to the effect of, "How are we supposed to follow THAT?"
I wondered if you were being ironic when you said that.
MattM
Corbie - 6/13/2008 1:42:59 AM
Exciting news that we'll be seeing Earthworks at Ronnie Scott's this summer, Bill.
The place has significant resonances for many of us, I'm sure, both musicians and listeners alike.
I can clearly remember my first time there in '85 to see yourself and Patrick Moraz. What a night... Those little grubby looking red lampshades that I saw on BBC 2's Jazz From Ronnie Scott's series as a kid evoked my grumbling parents reaching forward to switch channels.
I also remember you borrowing my lighter. I was quite young and rather star struck as I recall!
Seriously, those gigs and that place more than anything else, I think, fostered my fledgling love of improvisation, the thrill of an intimate venue and a music that need exist only in that moment and in no other time or place.
I haven't been back to the club since my kids were born but I'm going to do my best to get there this July.
Eugenius - 6/12/2008 8:17:01 AM
Just here to say hi.and I fall for love your So-Trivial-Motif-never music.I wish you sane sophisticated ideas and all absolutely wonderful...
Uncle E.
Sean - 6/12/2008 5:00:19 AM
Hi Bill!
Just wondered if you could share some background on the overalls with the Bruins logo we have seen you pictured in so many times in he 70s. Obviously you must have been a fan, but enlighten us a bit as to their background and inspiration.
Regards,
Sean
Jeremy - 6/12/2008 4:38:06 AM
Mr.Bruford!
I am a great admirer of you therefore I closely keep up with not only artistic but also private successes.I'd like to congratulate you beautiful friends.Our friends attests to us.Your friends are not common,good and loyal.It can be very important in difficult times.Could you tell us about them?Sorry for my mistakes but I english say very straight,ow.
Tom X. Chao - 6/11/2008 10:48:30 AM
Thank you for the very generous DVD sampler. It arrived here in NYC yesterday. My appetite has been whetted for all of the material presented, and even more beyond that. Particularly exciting was the taste of the World Drummers Ensemble. Seeing as how you've played with Chad Wackerman, as well as Adrian, perhaps you could comment about Zappa--the man, the music, or the phenomenon.
TheWinkler - 6/11/2008 9:18:35 AM
Hi Bill,
I am a big fan, from Barcelona. I have noted you are coming frequently, to the roundabouts of my town and actually, you will soon be playing in Castelldefels.
I would like to ask you about that gig, who will you be playing with, wich is the setlist I can expect, and if you think that for a proghead who is just initiated in jazz but has loved everything you have done until mid 80's it would be difficult to enjoy the music you are playing now.
Best regards
Pedro
Brian H. - 6/11/2008 7:24:36 AM
Hi Bill. Would you mind elaborating on some of the uncredited studio work you've done? Perhaps movie soundtracks, and other things of that nature? Thanks!
Graham Davies - 6/10/2008 2:28:48 PM
Bill, Almost correct re Tama drum deal.
In fact I got the deal for you when I started working with you with your group Bill Bruford.
When it came to K.C, I put you in touch with Simmond's.
When it come's to equipment, there all pretty much the same
It's down to the player.
Have fun at Ronnie's.
Regard's
Graham
Dave Wright - 6/9/2008 8:25:20 PM
Any chance of some Earthworks gigs in North America? Is it feasible, a club tour or something?
Michael O'Connor (UK) - 6/7/2008 12:27:44 AM
Hi,
Will you be doing any more drum clinics this year?
Aw - 6/5/2008 9:52:58 AM
Hi Bill
I recently bought some SD4 sticks from your shop again, and I've got to say how impressed I am with the fantastic price and service, especially as they're shipped from the US to the UK in about a week, with a Bank Holiday in between.
I met up with David F last year at the Brecon Jazz Festival....what a great guy! Hope you get some live and studio work done with him. It's about time you came back to Wales, last time was the Swansea Jazz Club I think! Any chance of some UK clinics?
Take Care - Aw
Adam D. - 5/31/2008 8:47:36 AM
Hi Bill-
Liked your most recent blog entry, particularly your mention of your dinner conversation with Tim G. and David F. on the future of the music industry. A drumming friend of mine sent me this link this morning, and I thought you might want to check this out (same goes for all other forum readers); lots of great insight here on the history of file-sharing and where we might be heading next: http://www.demonbaby.com/blog/2007/10/when-pigs-fly-death-of-oink-birth-of.html
Be warned, this IS a long read! Personally, it looks to me that for many musicians in the future, the only way they might be able to have a chance at making a profit with their music is by constant touring; their CD's/downloads/MP3's/whatever format you choose are really only a calling card or an invitation to see them live. Great; I love performing, but I'm also a full-time educator, and I hardly have any opportunitites to do my own live performances. The gigs I do are usually musical shows, jazz gigs, or rock gigs; all of which I play the role of session musician. I love it, but it's totally separate from my own music.
Anyway, if you get the time, I'd love to read your thoughts on all of the above. Thanks!
Steven W. Brown - 5/30/2008 4:23:23 PM
Greetings, Bill. Recently, I learned of a Japanese-released CD entitled, "Gong - Live". Location : Chateau Neuf, Oslo.
Date : December 15, 1974. Were you with Gong at that time & place?
peace, Steven
Austin Kaiser - 5/29/2008 10:57:20 AM
Hi Bill,
I know you're not "equipment minded" like so many drummers tend to be, but I hope you don't mind a question about your choice of gear. Specifically, I'm curious about what made you choose Tama and stick with them for nearly 30 years. I happen to love Tama, too, and consider their quality second to none. However, I'll bet you've been offered endorsement deals from many or all of the other big drum companies, but you've stuck with Tama. If it's not absolute torture for you, could you offer some thoughts on this topic?
Best,
Austin
Michael O'Connor (USA) - 5/28/2008 4:07:56 PM
I remember seeing you play the "melody" part of My Heart Declares a Holiday" some sort of drum clinic video and my jaw dropped. I never realized on the first Earthworks album how much I was hearing was in fact the Simmons pads. Was there every any plan for a track or even entire album that consisted of electronic drums playing melody, acoustic drums rhythm, with some percussion embroidering? Would this be something you would consider tackling if electronic drums make a comeback as you hinted several weeks ago? Maybe join forces with another drummer like Stewart Copeland...
Bill Fleming - 5/22/2008 8:40:01 AM
Happy Birthday Mr Bruford!
I think I recall from seeing pictures drom your brief drum clinic tour a year or so ago---that there were video cameras present. Any possibility that we get a glimpse of those commercially through Summerfold/Winterfold?
All the best!!
Bill Fleming
Stephen Vivona - 5/21/2008 12:23:49 PM
First: Happy B-day! Second: I have seen you quite a few times starting with Genesis in 1976 but my question concerns a lucky happenstance that occurred in 1979 (I believe). I caught your opening night of the Bruford Band tour (at The Bottom Line in NYC)as well as the closing night of the same tour (August) in the Bay Area of San Francisco. Both were fantastic shows (with Stewart, Berlin, Holdsworth and you all in fine form). >>>Is there often a difference in the band's outlook and your approach early on a tour versus late on a tour? My hunch is that it is different with different bands you have played with but are there any consistencies? I'd be interested in your views. Thanks for all the fine music and shows over the years! My backbone still tingles in rememberance of those thundering rolls you'd do on the big roto toms!
Matthew Baker - 5/20/2008 10:26:23 AM
Happy Birthday, Bill.
I took your advice and got a drum teacher; now I am 37 year old drummer doing it the right way.
Have you ever used clear heads on the snare drum?
Thanks,
Matt
Jolly Spiffing - 5/19/2008 8:16:37 AM
Hi Bill,
Belated Happy Birthday !
Just been checking out your playing on one of Billy Sherwood's PINK FLOYD tribute albums...
I was surprised, pleasantly surprised, to hear you playing within the prog genre again...I was wondering how you got involved and what enticed you to participate in this tribute project ?
Tally Ho !!!
D.C. - 5/18/2008 9:40:11 PM
Dear Bill.
Happy birthday!
Thanks for the wonderful musical education you took me on many years ago. I did as you said, studied jazz in order to truly learn my instrument.
I am now and will always be grateful for that advice.
Yours. DC.
Jacques Dulac - 5/18/2008 6:52:55 PM
Happy birthday Bill! Keep on create such great music! You're one of my all-time favourite musician... in my top 10 list!
Steve - 5/18/2008 9:57:01 AM
Hoppy Birthday Mr. B. Please come back to Southend and play here again. Ask the other Mr. B to accompany you. I promise me and that other odd fellow will behave much better next time (I always say that!) plus saves me chasing you round the UK, looking forward to hearing you live again. Best Wishes, Steve
emperor nobody - 5/18/2008 6:51:08 AM
Heya Bill, never posted here before but today is a good day to start. Wanted to wish you the best possible birthday and please feel free to have (to paraphrase Jimi Hendrix) about one or two million more of 'em.
I was thinking the other day that if I had to pick one musician on Earth that has influenced me the most, it just might be you... if your snare is the last sound I hear before I die I will go out on top.
So thank you so much for being born and long may you ride/hi-hat/crash/etc!
Rich D. - 5/18/2008 12:38:53 AM
Happy Birthday Bill !!!!
Thanks for your Music
Rich
Johanna - 5/17/2008 10:23:48 PM
Happy birthday to YOUUUUUUU! (hiting that high F on the end)...what a joy to know you.I'm still so thankful for those NYC shows...it was an amazing four nights of musical bliss! Thank you for both your musical and personal inspiration. Hope you are doing great!
Johanna
Mia Rischmann - 5/17/2008 4:00:31 PM
Hi Bill!
Happy birthday to you!
Best wishes,
Mia (Norway)
Bloomoog - 5/17/2008 11:58:42 AM
Hello,
interesting comment made by Sean T. about the paradox of Yes going for a more jazz-rock sound (I guess in Tales and Relayer)shortly after Bill's departure. There is some truth in it but I agree with Mr Bruford's doubts. Except for our favourite drummer there never was that much jazz influence in Yes and it would have probably been a constant uphill battle for him to try to "jazz things up". Granted, "Sound Chaser" is definitely one of the closest thing Yes ever got to jazz-rock, mainly due to Patrick Moraz Rhodes lines and, granted too, the percussion keyboard section at the beginning of the Ancient also has some sort of jazz-rock feel to it; yet this section is closely based on Wakeman's Anne of Cleeves riff and Rick never having been much of a jazz player this riff is "simply" a natural application of one of his trademark keyboard's techniques. So short of Bills becoming Napoléon in lieu of Jon Anderson I really see very little that could have brought Yes towards a more jazz rock/fusion approach. With the only exception of some of the Canterbury bands, King Crimson and perhaps (if we discount Lake) ELP circa 1970-1973 none of the top prog-rock bands had the necessary baggage to move collectively and in any convincing manner towards any kind of jazz-rock/fusion style. In fact it is quite the opposite as we ended up with Love Beach, Asia and Union...
At the other end of the spectrum, it is interesting to see that during the same period jazz players that went electric like Return to Forever, Mahavishnu, etc, whilst openly influenced by or sharing a lot of elements with prog-rock (the Minimoogs, the virtuosistic solos, the uneven meters, some kind of long form
) seemed to have either failed or declined to adopt one of the key element that made and continues to make prog-rock so exciting and loved: good old hummable tunes. Yet, snobbery aside, there is nothing that demands that good jazz rock/fusion should not have hummable tunes (take that seminal fusion piece Birdland, there you see... youre singing it already...). On the other hand even for their more structurally and rhythmically complex pieces, the more jazz tinged rock bands such as some of those belonging to the Canterbury galaxy (yes, I know Dave Stewart is alleged to have said he did not believe in British Jazz-Rock...) still maintained the ability to produce many memorable tunes such as Tenemos Roads or The Bryden 2 Steps from which a very hummable section can also be found in Lands End from Gradually Going Tornado.
This actually takes us back to the man who is kind enough to let us loose on his website to ramble on about the first time we heard Close to the Edge .... Among his many qualities, one of Bills greatest achievements and gifts to his audience is that each of his albums, from feels Good To Me to Random Acts of Happiness, contain many memorable melodies, whether penned by him alone or in collaboration with other band members, and that he has seen that all of his bands major players should always be musicians capable and found of playing counterpoints and choruses with a high melodic contents. I believe this is what makes Bills music so special particularly compared to that of many of his fellow jazz musicians. So yes, we love Bill for his fantastic percussion work and mastery of the odd meters and the unexpected accent but I think one of the reasons why his music touches us so deeply and which makes him such a complete musician is his sense of the melody whether in his compositions, his choice of players and yes, even his drumming!
So happy birthday Bill, thanks for the music and I look forward to many more years of new music whether it be originals or revisitation of your standards by your new bands!
Giacomo - 5/17/2008 9:56:25 AM
HAPPY BIRTHDAY MR.BRUFORD...TANTI AUGURI A BILL,TANTI AUGURI A BILL,TANTI AUGURI A BILL!!!
marek - 5/17/2008 6:58:37 AM
happy birthday bill.greattings from poland with hope to see you soon
Gunnar Berg-Nielsen - 5/17/2008 6:17:53 AM
Hello,
It`s Norways constitution day too. Hundreds of young drummers are out in the streets with their brassbands, drumming to make it a great day.
Love "In two minds", specially the tree tracks from Trondheim!
Happy birthday from Norway
Pola - 5/16/2008 5:18:51 PM
Mr.Bruford!
I wish you Mistery and Opennes,Powerful Sensations,Experiences and Relax,Trust and Riskiness,Licence and R and R.
Or better- I wish you Pressure and Holiday
Happiness and Shadow of a Doubt
Abandon and ...Someone Else.
I don't wish you the Beautiful Music because the one you already have.
Happy Birthday!!!
Pola
Andrzej - 5/16/2008 5:06:41 PM
Bill!
You are the most creative,interesting,amusing,alarming,sensuous,eloquent and gifted Man.Happy Birthday!
I've been deal with herbalism,alchemy,astrology... among others,for over 60 years.Forgive an eldery man the indiscreet question,please.Were you born about midday?
Andrzej
Jim Fiore - 5/14/2008 6:26:33 AM
Hi Bill,
When you next update the site links, you might add another source for log/slit/tongue drums: www.tonguedrum.com. I have short piece on the one I recently purchased plus a pic at my blog: http://scienceblogs.com/bushwells/2008/05/tongue_drum.php
Also, I noticed in a reply to another query that you "ran a lot in my running days". As a person who loves running about as much as drumming, I have to ask for your personal bests! I'll offer mine to get the ball rolling: at age 47, a 16:39 5k and a 1:16:11 half-marathon.
Thanks!
Mike Hirsh - 5/12/2008 4:06:20 PM
That picture of you and Mr. Rich...speaks volumes
Matt - 5/12/2008 7:51:55 AM
Hi, Bill.
A non-music-related question I hope you'll consider...
I teach broadcast journalism at a small college in New Jersey, and one of the topics I stress in several of my classes is that of interview technique. As an oft-sought-out subject yourself, what have you found makes for a good interview experience? What separates the good questioners from the nightmarish ones?
Thanks,
Matt
Dave Wright - 5/11/2008 8:58:41 AM
Allo...
Got the DVD sampler, will be watching on my next business flight, to Washington DC.... where I will be seeing Dream Theater and all their opening friends at DAR Constitution Hal, Memorial Day May 26 in States. There will be drumming.... if any fellow readers are there, see u at Section q, row B, seat 3 ...
Colin Coates - 5/11/2008 3:17:05 AM
Thanks for the D.V.D. sampler, excellent viewing, really enjoyed it, esp. as the tracks played were full length, and enjoy your caustic/humorous comments as ever in the interviews.
Any plans for the D.V.D. Anthology's soundtracks to be released on C.D.? [like Rock goes to College].
Any plans to release the B.L.U.E Albums on the Winterfold/Summerfold labels, as could not afford them first time round, also is there live footage for another D.V.D. ?
Never heard you discuss B.L.U.E. in any interviews so far, nor about your days with Roy Harper back in the '70's, H.Q. is still one of my favorite Harper albums, and recently purchased the BBC Tapes Vol. 4, In Concert from '75, will we await your Harper insights when your autobigraphy is writtern ?
Again thanks for the sampler, Regards, Colin.
Corbie - 5/10/2008 1:47:09 PM
Bill....
In an earlier blog entry you speak of the Mandala system....
"A decade passes and I am today at my laptop auditioning the result. So much clever thinking has flowed under the bridge. The Mandala Drum, from the wonderful Vince De Franco at Synesthesia Corp in L.A. http://www.synesthesiacorp.com/ may just do the trick. His handiwork has produced a great bit of kit, but it may be too early to say whether my feeble musical imagination can come up with a sufficiently interesting way to deploy it."
How goes this avenue of research and development and is it too soon to have considered a context (a re-electrified Earthworks? Additional electronic timbres for the duo with Mr. Borstlap?) for any future use of software and/or pads?
Fantasy fanboy project #1: Listening with feverish enthusiasm to David Torn's recent and magnificent return to the ECM label I can't help thinking that yourself back on electonics, coupled with DTs penchant for extraordinary post improv laptoppery might sound rather.... well, magnificent.
Jason Rubin - 5/8/2008 7:35:33 AM
Mr. Bruford: I am very interested in your philosophy regarding drum set size and set up. Does it vary according to the demands and opportunities of the particular style of music you are playing, or is it more about your own professional development, changing things around to keep yourself on your toes?
Daniel Bamford - 5/6/2008 2:05:40 PM
Next week at the 606...
I don't know whether Bill Bruford himself will grace this particular gig with his august presence, but anyone interested in the Szakcsi Junior gig at the 606 Jazz Club on Wednesday 14th May 2008, should know that he will also be playing at the Hungarian Cultural Centre with a different, younger backing group a couple of days later:
Szakcsi Junior Trio
Hungarian Cultural Center, 16 May 2008, Friday, 7.30pm
This dream-team unites members of three distinguished Hungarian Gypsy musical dynasties. Pianist Béla Szakcsi Lakatos Jr. proved beyond all doubt on Szakcsi Generation, his 2006 album with Jack DeJohnette and John Patitucci, just how consistently he upholds the standards set by his father, as well as performing as equal partner to his world-famous American accompanists. Béla Jr. is very much his own man in jazz, a formidable bop pianist, whos played with everyone whos anyone in Hungarian jazz.
On bass well have one of the youngest but most talented offspring of another legendary musical family, 18-year-old Krisztián Pecek Lakatos, who delighted the audience at Budapests Uránia Theatre last year when he played in the Visegrád 4 Octet, a band handpicked from the best young players of the Czech Republic, Slovakia, Poland and Hungary. When he was 13, he won the National Jazz Bass Competition, and two years ago, his playing was rapturously received by the audience at the 606 Club in Chelsea.
Drummer Elemér Balázs is, according to many, the best on his instrument in his country, and also the leader of one of the Hungarys most successful bands. Leading his own group, he was a great success three years ago at the London Jazz Festival, and also at the Union Chapel Hall in Islington.
RSVP to the Hungarian Cultural Centre. Tickets are free but availability is limited.
For reservation please call 020 7240 6162, alternatively send an e-mail to press@hungary.org.uk
The Hungarian Cultural Centre
10 Maiden Lane
Covent Garden
London WC2E 7NA
nearest tube Covent Garden or Embankment
For more details please visit our website:
www.hungary.org.uk
I don't doubt the skill of any of this up and coming talent, but I do have my concerns about the quality of the obligatory 'original compositions.' Even much more experienced performers are not necessarily great composers. It seems like an obvious point, but I've heard too much great playing wasted on poorly thought out new pieces.
What I most like about Earthworks is that we can be reassured that the talent Bill recruits will be getting their teeth into some good quality compositions. Then to hear the band play the _same_ pieces again, but really grow and develop it. Isn't that what jazz is all about?
Even with an accomplished composer like Bill I often thinks it's worth spending time playing around with established or even old repertoire, as on Random Acts of Happiness, rather than this pressure to churn out 7 or 8 original compositions every couple of years. I suppose the worst thing I could say about that approach is it's a bit, well, "rock"! ;-)
George - 5/6/2008 1:03:44 PM
Bill:
Regarding FAQ (27)... one can find African Slit Drums. My wife and I purchased a very nice, functional African Slit Drum at a local Ten Thousand Villages (U.S. chain) store for my eldest son for his 4th Christmas about 18 months ago. The cost was quite reasonable (under $50). My son likes to play along with you on "Sheltering Sky" in the 1982 King Crimson DVD Concert from the "Beat" Tour.
Also, when do you next plan to tour the U.S. -- either with a band or in the form of drum clinics.
Best Regards,
George
Duncan Parsons - 5/6/2008 2:09:39 AM
Hi.
Having obtained permission, I have a small ad relating to the upcoming Bruford/Borstlap gig in Manchester this coming Saturday (10th May). I have tickets F17 and F18 (6 rows back, almost dead centre) and was due to be going with my lady wife.
Alas and alack, forces have conspired such that we won't be able to attend. To say I'm ever-so-slightly devastated might be a wee understatement!
So, I these tickets - anyone want them? I paid £15.50 each, but would accept £10ea. If interested drop me a line: bb<at sign here>dsparsons<dot sign here>co<dot sign here>uk [sorry for the obfuscation - it helps beat the email harvesting spam-bots ;-)]
ATB
DSP
Ken - 5/5/2008 12:16:06 PM
Hi Bill,
Thankyou for a great evening at Turner Sims concert hall in Southampton.
I know it is almost all improvised but you both seemed familiar with the last number (before your encore). It sounded particularly outstanding & I couldn't work out what you were playing. It was a fast cut time tempo. I think you were playing a semi-rudimental pattern with the left hand on the ride cymbal & the right playing a pattern between toms & snare.
Is it on any of your recordings?
Could you give any insite on what the pattern was & how it came about?
Many thanks for the inspirational music.
Ken
Sean T - 5/5/2008 4:58:21 AM
Hello Bill!
I have really enjoyed reading your blog here, thanks for sharing! It's funny that someone recently asked what you thought of the Yes albums made shortly after your departure. I have an online forum where these types of musics are discussed and many were pondering that very question recently. I think a number of folks find it just it a tad funny that shortly after you leave for more musically dense waters, Yes too went through a similar period. Relayer and parts of Tales were about as out as Yes got musically, bordering on "fusion" and a touch of jazz. I sometimes wonder if the fusion bands of the day somehow influenced their direction for awhile there. It just seems funny that as soon as the die hard jazzer leaves the fold they decided to do something closer to the ballpark you were residing in. Forgive me if my perceptions from the outside are totally off the mark. It just "seems" that way to me from this distance. My question though is about the Bruford band. Any chance you will ever play that music again live? That was a special time, I think many would love to hear that music revisited in depth some day.
garbutachar 1er - 5/4/2008 8:07:04 AM
Hey Bill,
I know your whole carrier, even with Canterburryian musicians, Mont Campbell, Dave & Allan etc... but I do rather the Brufe begginings with Peter Banks on guitar!! The twice yes albums recorded with Peter have great force in drums playing. The 'metal Ludwig' sound was loud indeed, and medium and bass tom sounded so heavy!!! It is my opinion, and I shall not vary !!
Hope youll play in France very soon!
PS: I was scotched when I saw KC 'nouvelle mouture' in Frejus, summer 82
James Donegan - 5/1/2008 12:56:38 PM
Bill, thank you for this great site.
You have evoked an enourmous mature vision not only in your musical career but evidently in your personal life.
I have read that your father was a vetenarian which is quite noble. Was your upbringing one of discipline and love of the arts? Was your decision to pursue a career in music well supported at home with prudent advice given? Was it taken? LOL
Lastly, you have managed to stay physical fit for so many years.I saw a picture of you standing on your head in the Tony Levin photography book. What routine do you keep and is yoga part of it? Thank you again. James
Christopher Nollett - 4/30/2008 9:51:27 AM
Bill have you heard have the drummer Antonio Sanchez? He hails originally from Mexico City and has recently been playing with The Pat Metheny Trio. I had the pleasure of seeing the Trio when they came to Nebraska last fall. While I'm a guitarist myself, it was ironic that out of the three musicians on stage, I was most impressed with Sanchez for his impeccable sense of dynamics.
Chris - 4/29/2008 12:27:06 PM
I don't really understand music distribution or the role that records play in getting recorded music to listeners anymore so please excuse the rather idiotic question. As a fan who wants to support you and the musicians who you play with, is it better for me to purchase albums directly from your online store, from one of my local record stores, or perhaps somewhere else. I always try to buy music from my local independent record stores in order to support them and encourage them to keep things I like in stock but I imagine that you don't see much money from retail sales.
If you could help clarify this I'd really appreciate it.
John Elkaz - 4/27/2008 4:16:46 PM
Dear Bill, After all the support I have given to you as a fan and record buyer for almost 40 years, this is how you repay me!?; My teenage son infiltrated my collection of video cassettes and watched 'Bruford and the Beat,' after which my home has turned into a warehouse for drums and percussion instruments, not to mention a set of damned roto toms: Bam, Wham, Ting-Ting, CRASH! - endless battery - and to top it all off he has stolen my 'Red' T-shirt and has no intention of giving it back. Usurper of the peace, a Crint no less; that's what you are! Now that you've managed to sabotage the little bit of 'hearing' left to me, you might as well be kind enough to pass on to my son (Andreya) that to get somewhere on drums he needs to practise regularly and more than he does (30 minutes every second day); coming from me such statements mean nothing (fathers never know anything until it's convenient),but if you tell him to roll up his sleaves and provide some details of your own practice routine when you started out, I'm sure he'll take it seriously and buckle down(he has amazing talent and a natural flair, but this seems to encourage a 'take it easy attitude,' which is a pity). Apart from this, I just wanted to take the opportunity to thank you for all the wonderful music you've created and been part to over the years; and to wish you all the best in any and all things you are involved with in the future - good health to you,too. Uttermost regards,John Elkaz,from Sydney. P.S. Australia seems to be the 'lost continent,' as far as Crimson gigs are concerned, and for that I'll never forgive any past or present member of Crimson for as long as I live. O.K. - maybe on my death bed, but not before.
Austin Kaiser - 4/27/2008 1:02:23 PM
Hi Bill,
Love your drumming, blah, blah, blah. I have a few questions for you, at least one of which I hope will be of interest.
1) After you left Yes in '72, did you buy their subsequent records and listen to them? I'd love to hear any thoughts you might have on stuff like 'Topographic Oceans,' 'Relayer,' and 'Going for the One.'
2) I love your hi-hat work, from Yes to the present day. Is the hi-hat something you really worked at or did it just come naturally? In any case, you almost always come up with something elegant and original.
3) Why did you leave UK? I hope this isn't in your FAQ, but since we all know why you left Yes and I believe Fripp dissolved KC in '74, it would be interesting to know what happened with UK.
Best,
Austin Kaiser
George Zablocki - 4/26/2008 9:39:31 AM
Hi
I'm a newcomer on this forum but I'm fan of Bill Bruford's playing since 1972.
Of course I know the whole work Mr Bruford made until now ( I started to be fascinated by the music when I was about 15 and it was Jazz and the String Quartets).
In 1972 I discovered "Close to the Edge".
It was a shock. Since then I just love all kind of avantgarde ,progressif,improvised or writen music in this big bag, that means a real fusion between rock, jazz, classical and contemporary and traditional musics from all over the world.
I have one question.Why one can't find any of the live performances of King Crimson best period 72-75 (apart of 3 videos You can find on youtube).
Now on dvd we find every kind of shit, bubble gum,call it.
How it is possible that one of the greatest band of all the time was never filmed?
Or perhaps there is another reason?
If someone have an answer please tell me.
George
Grandpa Scorpion - 4/25/2008 8:41:00 AM
Hi Bill,
I have been a huge fan since high school. I most recently saw you perform at a drum clinic in Long Island in 2006. The Indiscipline solo was particularly astonishing.
I read that you hadn't heard or seen Chris Cutler so I thought I'd post this link: http://www.youtube.com/watch?v=NfmyiVViOo0
Best, Grandpa
Nav Jhaj - 4/24/2008 10:36:50 PM
Hi Bill,
I appreciate your feedback to my question on jazz guitarists. If I may suggest two recordings by the newer, up-and-coming giants to be of jazz guitar for you and your readers, the first would be Kurt Rosenwinkel's "The Remedy: Live at the Village Vanguard" a 2 CD live date featuring Kurt's quintet that just came out last month. For many jazz guitarists, Kurt is the man par excellence for today (even if his last record, which featured Brad Meldau Jeff Ballard, and Joshua Redman, sold all of 27K copies, the proceeds from which wouldn't even cover the backstage catering bill for a single Stones gig..). This is what Joshua Redman wrote in the liner notes to Kurt's 1st album: "Kurt is a man of many musical virtues. His technique is prodigious. His ears are huge. His time is solid. His groove is ferocious. His articulation is precise. His tone is penetrating but warm. His narrative flow is relaxed yet dynamic. His ideas are often surprising, sometimes shocking. But always compelling and inevitably satisfying. He is an adventurous soloist, an empathic accompanist and a poetic composer...He navigates the jazz idiom with fluidity and grace. He is an uninhibited, uncompromising and uncommonly inspired artistic voice. He is an organic, intuitive innovator...a natural original".
Further, Kurt himself describes his sound thusly: "Basically, I want a cross between Allan Holdsworth and Grant Green, in a sense, but I also want the chordal approach of Keith Jarrett; that pianistic quality of creating harmonic space even as youre soloing. Of course, Holdsworth does that too with single-note lines, but the integration of chords and melody is something that I really hear in my head now. And Keith is a master of that, as is Bud Powell or Elmo Hope. So you might say that Im trying to combine aspects of Allan Holdsworth, Grant Green, Keith Jarrett, Bud Powell, and Elmo Hope on the guitar".
The second recording I would recommend is Ben Monder's 2005 "Oceana", which is a thoroughly composed work (unlike Monder live, where his playing is substantially informed by improvisation). Basically, Ben has played on over 90 CDs as a sideman but only has about four albums as a leader--among other projects, he's held the guitar chair in Maria Schneider' s Orchestra for the past 10 years; other notable memberships include the ongoing involvement in Paul Motian's Electric Bebop Band. Maria Schneider herself pays Ben one of the nicer compliments a jazz musician can receive: " You'll never hear the obvious out of Ben". This is partially due to the fact that Ben seems to have an seemingly unbelievable work ethic: a quote from a 2005 Jazz Times article notes that "A fun week for Ben is when he can put in 16 hour days---I kid you not, 16 hour days---with his guitar. His ridiculous chops did not appear out of thin air". In any event, "Oceana" is a pretty unique piece of work--some of the tunes have more in common with very, very complex progressive rock than with jazz per se (two of the numbers clock in at around 17 minutes each, and another at around 12), but the entire album is very enjoyable and worthwhile.
Cheers,
Nav
Gus - 4/24/2008 3:10:09 PM
Dear Bill,
You are one of the main reasons that I play drums. The first time I saw you, you were playing with U.K. in 1978. I was very young and impressionable. I always had the idea that you were one of these drummers with the long hair, and when you played, you moved all over the place (ala Keith Moon). I was really shocked at the way you were so smooth. You were very precise at the way you hit the drums.
Anyway, I still to this day think of you at that famous Penn's Landing concert in Philadelphia. I also liked the way you sat down at the drums on 'Waiting Man', and went right into the beat. You are a natural.
BTW, I have your small signature snare drum. I use it as a regular snare, not on the side.
Thanks for the inspiration!
Gus Catona
Dan Wasser - 4/24/2008 6:03:51 AM
I'll never forget ... I saw you and Patrick Moraz on tour at the University of Maryland in ... geez, must have been the late '70s? Anyway, after the show, you were kind enough to allow a bunch of fans/students backstage after the show. I asked you "Tell us, what's Robert Fripp really like?" After considering the question, you answered in perfect dead-pan: "Odd ... quite odd." Everyone cracked up laughing.
I keep my snare drum VERY tight ... I love that "snap" sound that you had in Crim.
Michael - 4/23/2008 8:16:05 PM
Bill,
I had to write you after reading your F.A.Q.'s and listening to "One More Red Nightmare" again. That really was an incredible cymbal.
I haven't looked at them in years, but I have several rolls of black and white pictures I shot of you in Houston on the Flag tour. You're more than welcome to them if I can ever get them scanned in.
Now on to the real purpose of my post. I first discovered you and your mates when I heard the absolutely incredible "The Yes Album", a favorite of mine even now. I can't tell you how refreshing it was. It opened my eyes to a whole new type of music. For the first time in my life, I had to listen to music with my head instead of my ears. I continued to be drawn to your many talents when "Fragile" and Close to the Edge" quickly found their way from the record store to my turntable. I thought Yes was all but dead when I heard you'd left the band. Shows you what I know.
I knew absolutely nothing about King Crimson, but when I saw your name on the back of the "Lark's Tongues" album the following year, I had to have it. It blew me away the first time I heard it. To say I've been enjoying it ever since would be a severe understatement. Not only did I discover a new and previously unleashed Bruford, I found the best rock band anyone could ever imagine. I now have the entire Crimson collection, including a ton of Collector Club issues.
While reading your F.A.Q's, I realized you really are a product of your influences. I can say with confidence that almost everything you said about those drummers are true in your music as well. I'm not a musician, so I don't have the vocabulary to say what I'm really feeling, so all I can say is you have a gift for always bringing exactly what's needed (or in the case of "Trio" what's not needed) to a song. You're not about speed and noise as most drummers seem to be. You blend and weave your instrument and make it part of every song. You have a knack for always taking the music where it needs to go. In the case of "One More Red Nightmare" you always seem to find a way to play the same thing differently. There's never a dull moment with Bill behind the kit. That comes from years of dedication and love for your music.
I hope somehow my feeble words repay you for the many years of happiness you've brought to me through your music.
You're the best,
Michael
Kevin - 4/23/2008 6:07:52 PM
Greetings Bill, I am curious to know if you have ever done any film scores? If you have done any scores, I would like to know what films. If you have not done any film scores;is it due to a lack of connections or desire? Any feedback you can give me on this topic would be appreciated. Thank you.
Julian Dunbar - 4/22/2008 6:22:25 PM
Hey Bill,
I'm an up-and-coming drummer and I just wanted to say that your work and playing style have been a great influence and learning tool in my drumming career. I've been to several of your clinics and each one is better than the last! Just wanted to say thanks for everything - keep the good music coming!
Your fan,
Julian
Mark Weston - 4/22/2008 5:40:24 PM
Hi Bill,
Enjoy your many musical adventures throughout the last 30-something years. I am currently involved in playing standards in a jazz combo AND bashing away in a very Crimson-esque Indie-Prog outfit. Before I end up becoming yet another TFCSM, do you have any tips on reconciling playing styles, volume applications, etc. ? The seeming dichotomy is rather stressful...
Cheers,Mark
Dave Wisker - 4/22/2008 5:19:10 PM
Dear Mr Bruford,
I have only seen you live once, when you toured with Genesis at the Berkeley Community Theatre in 1976. A memorable night. Thanks.
Amy - 4/22/2008 10:09:54 AM
Hi Bill,
Thought I would give your rolling Guestbook a try now that I have mentioned it in your newsletter. Love the changes to your site!!
All the best,
Amy
Adam - 4/22/2008 1:59:07 AM
Hi Bill,
Long time fan of the many different outfits you've played in and of course of your musical contribution to said bands.
My question is about the availability of transcriptions for your solo stuff. I am dying to learn how to play Sample and Hold, for instance. I am a keyboard player and listen in awe at Dave Stewart's marvellous contributions. It would be great to see it notated or released in some MIDIfied form.
All the best
Adam
Jose Duque - 4/21/2008 6:42:10 PM
Great Bill,
I just read the little excerpt from a future book?
not only you're a gentleman that is good at the drums and write beautiful music but also a superb writer!!!!
can't wait to read more once the book is published
what a treat.
waiting to hear more of Earthworks, soon I hope.
all the best to you and family
honeslty
Jose
Bill Kraemer - 4/21/2008 8:36:34 AM
Is there any chance you will offer Bruford and the Beat on DVD?
Jay - 4/20/2008 2:04:32 PM
Ok, I have an important question for you. With all changes in the music business (as well as the culture), do you still have the "Jacket that brought us Larks Tongues in Aspec?". If so, I will have my secretary, Mrs. Eggbert to start a letter writing campaign to start a Bill Bruford Museum. Now I know that the famous "garbage can" cymbol that was used in Larks Tongues eventually lost its sound attributes, so without a thought, you
tossed into a skip. Its unfortunate you didn't realize all the money and fame you would (currently) make playing Jazz, so you would have saved this priceless artifact. :) :)
Now, we have to rely on grainy photographs (some with Mr Fripp sneering, but we can photoshop those out. :) ) to see the magic cymbol.
Again, thanks for your work and sense of humor. I guess I never had the image of YES driving around in a van like the beatles did early on. AND the trip to and from the gig was more exciting (not in a good way) than the music. :)
Best wishes to everyone here
Jay
JimFiore - 4/19/2008 6:14:11 PM
Hi Bill,
Thanks for your prior answers. I found the book excerpt most entertaining (looking forward to its publication).
You have worked with a number of fine musicians who also worked with the late Frank Zappa (Belew, Jobson, Wackerman, et al.) Did you ever get the chance to work with or meet FZ, and is there anything in the Zappa catalog that you find particularly interesting or entertaining? FZ certainly had a way of combining music, humor, and social commentary unlike anyone else, along with a knack for composing for drummers and percussionists.
Thanks and take care,
Jim
PS- I picked up a giant 14 note tongue drum the other day (G pentatonic, mahogany top) after following some links on your site (and a little net searching). I have an older, six note unit that doesn't "talk" quite the same way, which is good. It's a nice foil to my usual electronic armory. It's very "immediate" in feel.
Mark Tinker - 4/18/2008 7:44:34 AM
In the early part of your career (Yes/KC/Genesis/Bruford), you were practically using a hybrid of various drum makes. Particularly, this would be the case of using the combo of Ludwig and Hayman drums. I know very little about Hayman and its history but how did you come upon their kit (which I'm assuming that you started using on the Fragile tour)and do you still possess the kit along with the Ludwig Supraphonic snare? What were your likes and dislikes about Hayman? And finally, what are the advantages and disadvantages of playing a hybrid kit made up of various drums?
Cheers,
Mark
P.S. It would be fantastic if Mr. Bruford could make an appearance in Florida sometime. This state is in deseparate need of some fresh musical blood injected into its welting veins.
Ron Morrison - 4/17/2008 5:24:12 PM
Hey Bill, I just read the excerpt. Very cool, can't wait for the book.
I'd also like to thank you for the accessibility, knowledge/experience sharing and of course the inspiration.
Still hoping to see you again, either in Vancouver or Edmonton Canada.
Cheers!
Matthew Baker - 4/17/2008 3:51:22 PM
Bill:
Hi. I have a chance to purchase a Beechwood snare. Any thoughts on Beech? I've never played one.
Best,
Matt
Joao Froes - 4/16/2008 12:13:05 PM
26 September 2002: a day I will never forget to my dying day. The first (and to date, only) Earthworks gig I have ever attended, in my hometown of Sao Paulo, Brazil. Bill, I will never forget your great performance, and I especially loved the then-unreleased pieces "Tramontana" and "Bajo del Sol." I can still see those moments in my mind's eye, and I was particularly happy to have had your autograph on the booklet of my DVD "Footloose in NYC." Thank you so much, you are a great musician and a great person, as well. When are you coming back to Sao Paulo? I hope to be there in the first row again.
Nav Jhaj - 4/14/2008 8:20:37 PM
Hi Bill,
I'm an aspiring jazz guitarist, and I'd be curious of your take on this fine instrument and it's wonderful jazz-oriented players, particularly given your fairly lengthy background in rock bands (a genre in which, in my opinion, the couple of wonderful players you've played with notwithstanding, is generally inhabited by about 3.5 million very mediocre six-stringers generally executing market strategies by getting jiggy with a bunch of cowboy chords, or alternatively, becoming "heroes" and becoming quaintly acquainted with the financial rewards, fame, and groupies that may sensationally accrue upon the the magical discovery of a few drop D power chords, et al) and, more importantly, the fact that, in jazz, the guitar has historically been a second or 3rd tier instrument; furthermore, jazz guitarists have generally been behind the musical 8-ball in terms of competing with the unique phrasing abilities and outright sheer speed of properly-executed single-note lines by saxophonists and brass players (e.g., some of Bird's solos are set to 328 bpm--my metronome only goes up to about 210--yikes!). Indeed, many, many standards were made and recorded, tons of blowing sessions accrued, and musical notes compared--all with exactly zero guitar in it.
What is your opinion about the masters of your generation, the Jazz Guitarists now in their 50's and 60s who emerged in wake of "Hey Joe", i.e., those who extended the sonic language of the instrument by enhancing the historically clean archtop derived tone with a series of effects, electronics, and such (even if these are considered "conservative" via rock and roll standards): i.e., Sco', Martino, Frisell, Breau, McLaughlin, Benson, Metheny, Abercrombie, etc.?? Indeed, Frisell and Canadian Ed Bickert has proven that you can even play jazz on a Tele. Have you heard much of the newer players who are more or less my age, such as Kurt Rosenwinkel, Ben Monder, Jonathan Kreisberg, Adam Rogers, Jeff Parker, et al? You may very much enjoy Mr. Monder's music--he's very comfortable not really knowing where exactly to hang his musical hat--very much in the jazz tradition, a bit of the avant-guarde, a dose of progressive rock, etc. And, holding it all together, a crapload of ridiculous skill and ability.
Do you think there is a sense of balance between the tradition and unmatched purity, clarity and sheer and utter beauty of the tone in the hands of the master musicians (think historically back in time to people such as Wes Montgomery and Johhny Smith) and necessity for the world to move relentlessly forward, complete with an increasingly dizzying array of electronics, effects, and such?? Put it this way: can you imagine, in a jazz context, implementing the sophisticated and thoroughly modern electronic rig setup utilized by someone like Fripp with Howe's vintage L5s and ES-175s?? Or would that be akin to spray painting on the Monalisa??
Cheers,
Nav Jhaj
Chicago, IL
Robert - 4/14/2008 7:41:59 AM
Which guitarist has the best ass?
Seriously,HUGE Bru fan here (250 lbs.) and I love nearly everything I've heard you do. Don't make any changes, just record more.
Matt - 4/14/2008 7:27:09 AM
Bill,
I'd been thinking for some time that it would be terrific if you wrote a memoir, so I was thrilled to see the excerpt on the website; looking forward to the finished product!
Two questions: have you read and/or would you recommend any biographies or autobiographies of other musicians? Also: what is your opinion (if you have one) on the Dan Hedges-penned Yes biography that was published in the early '80's?
Thanks,
Matt
Mike - 4/14/2008 2:12:49 AM
Hi
I just wanted to say that I loved your book excerpt and it helped explain why we always had to wait around for ages at Yes gigs ;-)
Looking forward to seeing more excerpts and reading the book.
Mike
BTW first saw you in Yes in late 60s - Watford Town Hall - first real music I had ever heard and blew my mind.
armin - 4/11/2008 3:42:24 AM
Hello Bill,
about 25 years I'm following your career and you are still a source of inspiration to me. One of the things that are/were extraordinairy is the fact that you were in different double-drumming situations. I liked the situatien in KC 1994 with the Ringin/Elvo drumdepartment. Great stuff!! How do you think about the idea of the half-new drum duo in KC with Gavin Harrison? Personally I think that Gavin could do the job better alone. And I just thought about the weird idea of a double-duo Bill+Gavin. Would be funny to hear what happens, if this two "rhythmic imaginers+illusioners" build the foundation of a band like KC.
Further I'm curious what musical projects happen in the near future with you. Maybe I can a visit a show in Holland with Borstlap this year.
All the best for you
armin (nl)
Dan Gillis - 4/9/2008 9:33:13 AM
Hey Bill thanks for the reply! Morello and Roach, of course! I can definitely hear their influence in your playing now that you mention them
In my opinion, Roachs For Big Sid is the most musical drum piece ever written and is a shining example of how over the bar line playing can make you feel good
Anyway, so I have some more questions: How disciplined is your drumset practice routine (no pun intended)? How many hours do you play a day? Do you start with rudiments for warm up? How much of your practice is reading? Do you play along with tunes? Do you play with a metronome and if so, how often? Do you immediately write out ideas in drum notation as they occur or do you record yourself and write them out later? I guess I
