Saw Bruford with the double-trio version of King Crimson in the ‘90s. Bruford and Levin were one of the most inventive rhythm sections in rock. Absolutely incredible.
My all-time favorite drummer. It started with me because of his work on "Heart of the Sunrise", and "South Side of the Sky" on Fragile by YES. I never looked back!
If I die and go to heaven - though I suspect God has already clocked me as an atheist - I want the opening to South Side of the Sky (BB - genius!) as my entrance through the pearly gates.....
That is the EXACT same way I grew to love him with Fragile! Hearing “Heart of the Sunrise” was so insane, but “South Side of the Sky” showed his best work on that album imo
An amazing drummer. I saw him with Earthworks in the 90s, I think and, in the second half of the show, was able to find a seat in the front row. The stage was slightly elevated, half a metre maybe, but I could see everything he was doing. I wasn't really a fan of the music but when he performed the drum solo, standard kit to the front, Simmons kit at the back and a rotating floor (I think, it was a long time ago) it was mind-blowing. What a totally amazing drummer. I also have that disk where he plays Max Roach's 3/4 piece "the drummer also waltzes" which is phenomenal. Apparently, he encouraged Neil Peart to learn that too.
Bruford is the consummate Prog Drummer. Alan White had the rock feel vs the Jazz feel. Bills use of space and internal time (that Alan did not have - see how he relies on riding his hi hat on Yessongs - that is a rockers crutch). Bill had internal time and that made his riffs so unique (Fragile/Close). Heart of the Sunrise - all internal time - no riding cymbals - Alan just smashes the hi hat vs space.. It drove me mad until I got a metronome and ended my reliance on hands for time and used internal time - then my playing took off. RED (KC) is insane. The trio KC is my fave, but saw them in California last year and they were off the hook. Cheers Andy!
I have a ton of exercises for developing internal time, which I beleive has many aspects you need to master. Some jazz drummers are incredible at utilising this....
I experienced Bruford and White at the same time, growing up in the 80s. I appreciate both approaches. Bruford is just phenomenal in his unique approach to drumming.
I got to see the David Torn group. Bruford did this composed piece for Simmons drums which didn't appear on the album. I recently saw it on RU-vid after all these years. Somebody documented the show. It's great!
The first time I heard Bruford was when I was introduced to a new record called "THE YES ALBUM." The song was "Your's is No Disgrace and although it was a straight rock beat, there was something different happening. I'd never heard anything like it. It was a feeling -- almost as if the air in between the best created something unique. Ever since then, I was a fan. A truly unique talent.
Bill Bruford is also a very innovative composer and a master of jazz chords His first three solo albums were unique He also made an album with Eddie Gomez and Ralph Towner
My favorite quote from him, "listen to as much music as you possibly can, whether you like it or not is immaterial " The song "The 16 kingdoms of the 5 barbarians" has about 60 listens from me.
Bill has long been my favorite drummer, influencing my playing and kit set-up. Master of beat displacement. Got to see him with Earthworks 3 times, Yes (Reunion) and was at the Bruford Levin Upper Extremities show at Park West in Chicago (featured on the live album). I met Bill after the second show at Riverfest in Minnesota, which they performed as a 3-piece (mentioned in his book) and have photos of that as well. I also met him after he retired and got him to sign a copy of his book and a Simmons drum I brought along. He is one of the most important drummers ever.
Birds of a feather...I loved your Allan Holdsworth video and now have found your Bill Bruford video. I have also been a drummer... for over 40 years. Bruford has probably been the most impactful drummer upon me as well. Here's my story. During the time when Roundabout was released and getting regular airplay, I had taken up drums in the school band. I wanted to play sax but it was too expensive. Incidentally my music teacher (Ms. Linda Torres, bless her heart, she'll never know the seed she planted...) taught me how to tune a snare drum. Of course she taught us how to get the ring out of it. So when I heard Roundabout, I thought "This guy doesn't know how to tune a snare drum. It's ringing all over the place." I think I liked the music but couldn't get past the ringing snare drum. Time went on, I got turned on the The Yes Album, the rest of Fragile and got into Genesis and then UK. By now it was clear that the common denominator in so much great progressive rock was Bill Bruford and it began to sink in that his snare sound was just his unique voice. Now, more than his snare sound, I loved the fact that he was involved in the making of all this good music, because I loved every aspect of it, not just the drumming. He obviously was a "thinking drummer" who composed his parts to compliment the music just as importantly as the guitar, keyboard, vocalist or bassist. I began to recognize his rhythmic sense and signature phrasing and saw that it was clever, intelligent and sometimes humorous. This was all before I left High School. Afterwards, I discovered King Crimson (John Wetton phase). I researched everything I could find with Bruford on it as though they were pieces of a mystical puzzle that had to be assembled before I grew too old. Long to short...seen Bill live a number of times, actually sat down and had a conversation with him while he was in KC (Beat phase). I swear by his Bruford band albums, especially One of a Kind. One thing is that Bill so admirably was always open to re-inventing himself on the drums. He was an innovator and an architect of sound. Also he knew how to associate himself with the right musicians to present what he offered. Love his wit and occasional pretentiousness and for the most part he's always seemed like an honest man (except for the time he adamantly denied ever being a member of National Health. I don't know what that was about!) That's why I love Bill Bruford. Thanks for opening that can!
So much has been said about Bill`s influence on drummers because so much needs to be said about his influence on music. I was always so excited to see how he would set up his various drumkits from year to year. That in itself was major inspiration for me.
So glad the UK debut got a mention , my favourite Bruford Prog album . Those clattering roto toms and his playing on In the Dead of Night sublime as is the Holdsworth solo , pure liquid gold. Was rather hoping you might get him on Andy !
I saw Bill with the RED version of KC, the Belew version, and the triple double with KC. Also saw his solo band on the Tornado tour. His playing is unique and very interesting. Makes the songs better.
Incredible and innovative player. Happy to say I own all the albums you showed, except for the last one, and I enjoy them all. Was listening to master strokes today and digging it a bunch. Excellent video as always. Bought the rain album on cd, singularity, and I’m enjoying that as well. Excellent drumming on there. Cheers 🍻
I have a vague recollection of seeing Bill Bruford playing on stage with Curved Air. This would be 1975-76 at the Woolwich polytechnic. I say vague because most of my attention was fixated on the lovely Sonja. Happy Days.
Although I had a lot of the material I bought the, making a song and Dance box set, never heard him with David Torn before and it blew me away. Saw Bill at my first ever gig at Leeds Town Hall, in 1971 doing the Yes album. Still remember the concert well, Tony Kaye still with the Band, and a very good support band called Lancaster, who were led by Jack Lancaster.
It's no coincidence Bill Bruford plays on my favorite albums, and on my favorite tune of all time. The great ones make it look easy. I'm glad Bill is still roundabout.
All fantastic albums and the same ones that got me into Bruford in the first place. Bruford, Collins, White....some of my most inspirational drummers as well. Excellent videos as always.
Nobody was a better pocket drummer then bill bruford nor has anybody been able to do a stroke roll like that man including his signature rimshot. My first glimpse into him was my brother's Yes albums then it slowly became King Crimson albums and then I started to find out about his amazing year with Genesis in 76 and of course the latter 70s after King Crimson with the bill bruford group and UK and of course anything he did with Patrick moraz. And Earthworks and his subtle reunions with yes and King Crimson. He's more than just a drummer he had a limited ability with his left hand as do I but he turned it into a strength of his and he's got one of the best left hands in all of the business now. The odd time signatures like the stuff he did from the late '60s all the way up through the early '80s. His conscience playing is like no other I've ever heard his ability to lay down Beats is like no other drummer I've heard maybe with the exception of Vinny Coliuta & Steve Gadd
The Yes Album was also my intrduction to Bill Bruford. I saw him live with King Crimson, 3OAPP and Thrak tours, ABWH, Earthworks first album tour and Music for Piano and Drums tour with Patrick Moraz. I don't think I have ever seen a musician play a more varied repertoire of music genres.All brilliant, not a weak or less proficient performance in the bunch. Wish I could have seen CTTE and UK live. Definitely one of my, if not the most, favorite musicians of all time.
I love How i pretty much i already know everything you talk about and i still watched the whole damn thing. Anyway, another great thing about Bruford Is How he learned to play with other drummers and not against them!
Fun fact: 3 different times in the 70’s BB made 3 great records in an 18 month span. The Yes Album Feb ‘71 Fragile. Nov ‘71 Close to the Edge. Sept ‘72 Larks Tongues in Aspic Mar ‘73 Starless and Bible Black Mar ‘74 Red. Oct ‘74 Feels Food to Me. Jan ‘78 UK. May ‘78 One of a Kind. Jun ‘79
Spot on with this one. I've been saying it for over 40 years: Bill's crowning studio recording drum performance is on UK "s/t". I also agree with the David Torn "Cloud About Mercury". I may also consider the 2 Kazumi Watanabe "Spice of Life" discs, as well as Anderson Bruford Wakeman and Howe (specifically the b-side "Vultures". He was truly an innovator.
The title is actually 10 Reasons Why I Like Bill Bruford, not 12 reasons. But anyway, couldn’t agree more about Bill Bruford. My favorite example of his drumming is Starship Trooper, particularly in the “speak to me of summer” sections. Amazing poly rhythms! 👍👍
Bill Bruford may not be the most technically impressive drummer, but he is by far and away the most interesting drummer I have ever heard. No one else sounds like him or plays drums like him. His propensity to play around the beat is just one of his most interesting attributes. Great video.
@@AndyEdwardsDrummer Eric is right that Bill is so interesting the way he plays around the beat -- always so thoughtful. But Andy is right that Eric is wrong as far as being technically impressive: Bill's technique is second to none. His buzzrolls are the smoothest!
I'd like to weigh in on this. It took me 30 something years to figure out this riddle. Because I know what you mean by saying he isn't 'the most technically impressive drummer'. I think what you mean to say is, "compared to the GREATs" like Dennis Chambers or Dave Weckyl, he cannot perform to that level (although he is technically gifted). Yet, I can only listen to Dave Weckyl for so long. I can only listen to Dennis Chambers for so long. And I keep going back to Bruford (and I can listen to all of these albums on this video for days and days). It came to me like an epiphany. The answer to the riddle (for me) is this.. Bill Bruford is the most CREATIVE drummer of all time. He does things on the drums that no other drummer THINKS about doing. The Dave Weckyls and Dennis Chambers of the world all seem to churn out of North Texas State University. And while unbelievably impressive, I am drawn to the creativity aspect. I also love the fact that he enjoys playing each performance differently from the last. We all know how Bruford thinks of drumming as a conversation and talking to people, not wanting to have the same conversation over and over. There are too many things to get into about this guy as to why he is so fascinating.
Enjoyed this video. Just picked up LIVE AT THE VENUE/4th ALBUM REHEARSAL SESSIONS. Pretty killer. ROCK GOES TO COLLEGE will be next...some nice RU-vid videos of this stuff (Jeff Berlin looks like a kid).
I used to have a vhs copy of rock goes to college they played stuff from the bruford solo records with berlin, holdsworth, and dave stewart, I think anette peacock was singing, someone said she was the wife of bassist gary peacock
As you probably can gather by the picture just to the left, I’m a big Bruford fan. One of my all-time favorite musicians. First time I heard him was on the “Roundabout” single when it was actually kind of a “hit” on AM radio (those were the days). Went out and bought “Fragile” right away (my first prog album). I had already been playing drums for a couple of years, but this guy sounded completely different than anyone else. His playing on “Heart of the Sunrise” really kicked me in the head. Since then, I followed him wherever his career went. He certainly was never afraid to go wherever the muse took him. The latter part of his performing life with the acoustic Earthworks band was also a highlight and a wonderful way to close out a career.
@@AndyEdwardsDrummer Absolutely. BTW, it would be great if you could get him for an interview. He's been promoting his new boxed set lately, so, maybe...
In addition to all the excellent albums mentioned, I also think Bill Bruford's drumming on Chris Squire's "Fish out of Water" is amazing... His playing on King Crimson's title "Red" is simply brilliant and is only surpassed in this musical style by Narada Michael Walden on Robert Fripp's "Breathless" (Exposure). Narada takes it to the extreme on this track....
Tony Levin deserves a huge shout out when mentioning the Discipline, Beat, and Three of a Perfect Pair records. His playing of both the bass & Chapman stick are amazing on these albums. That being said, nice video, well done. Big BB fan here!
I was lucky enough to see Bill bruford in 92 or 93 with yes I know it was right before he left the band and went back to pursue happenings with crimson and I was fortunate enough to see him with crimson and'98 or 99 both shows were from New Orleans one was at the UNO Lakefront Arena and the other one was the House of Blues in New Orleans
The 70s and 80s KC albums Bill's on, to me, seemed to follow a pattern on first album - manifesto, this is how we are going to do this, this is how it will work; second album - exploration, what are the implications of this manifesto, what can be achieved with it?; third album - mopping up, we've wrung what we can out of this idea, it's been a laugh, time to move on to the next manifesto. I love all six albums, but SABB and Beat are my favourites, they feel established, that they have worked out what they're doing, and they're doing it very (VERY) well
Nobody was a better pocket drummer than bill he was so simple yet so complex and if you really want to get a good idea of what he's doing fine bill bruford and the Beat the classic VHS video I've actually got a copy of it but I mean I'm not getting rid of it it's a classic
Great point about the keyboard like interplay between Robert Fripp, and Adrian Belew on Discipline. But don’t forget the Elephant Talk featuring Tony Levin playing a Chapman Stick.
I'm a bit late to this party, seeing you two years younger with long hair is a hoot 😅 Anyway, thanks for this, Bill Bruford is a massive hero of mine, like you, I first heard him on the Yes debut and what I heard blew my mind, it is still an album I listen to frequently. I also bought (and still have) the Master Strokes best of which is incredible, and the majority of tracks on there are from One of a Kind, an album I absolutely adore. Bill has been on some of my all time favourite albums: Close to the Edge, Red, U. K and One of a Kind, sadly, of my four favourite drummers (Bruford, Cobham, Palmer and Peart), he is the only one I never saw live. Currently exploring his pure jazz work with Earthworks, a genius of a man 👍👍
Personally, two albums that are still in heavy rotation to this day are Chris Squire's Fish out of Water and Absolute Elsewhere In Search of Ancient Gods. When I first heard the latter back in 1991-92...I was hooked and it was non-stop listening for the unforeseeable future. Just amazing. Would love to hear your thoughts on Brufrod's Earthworks albums. Take care and Thank you.
If you ever wondered why Bill's cymbal crashes sound entirely different than anyone else's, it's a little in his unique striking technique, but mostly because he cuts one or two inches off of the edge. So what was designed a 19 inch is now a one of a kind 17 inch for instance. I only figured it out when he auctioned his old gear and they noted it on many cymbals.
If you recall Andrew, Bruford has said what he was proudest of in his playing career was that he never broke a stick. How about this Andrew, have you broken any sticks? Cheers!
A delightful video. Many thanks. I know it's not quite appropriate to shine a light on an individual who isn't the focus of the video but your comment about Bruford's phenomenal left hand set me to thinking about another drummer who also possessed a phenomenal left hand, to wit: the late, lamented B J Wilson of Procol Harum. Wilson has never received his due, neither in his lifetime nor afterwards, regardless, someone who thought well outside the box and who had the chops and imagination to make it work. Again, I always look forward to your vids, and, thank-you. Cheers!
In fact Bruford mentioned a few times that he has a weaker left hand/arm, and he seems. Howver I guess that Bruford’s weakest hand/arm is much better than most drummers’ best hand/arm!
I find it interesting that you make no mention of Bruford, Levin Upper Extremities, works with Kazumi Watanabe, Earthworks the King Crimson double trio and many many others.
BB knew when to call it quits and NOT to became a nostalgia act and caricature of himself ( like last KC incarnation). That's another reason I really admire him.
OK. Of the six King Crimson albums, here is MY order from favorite to least favorite. Disclaimer: Every single one of them is GREAT. I would put up number six against any other group's album, but in this day and age of ranking, here we go: 1. Starless and Bible Black 2. Beat 3. Larks' Tongues in Aspic 4. Three of a Perfect Pair 5. Red 6. Discipline I understand some will think I have this in reverse order. Nope. S&BB is my favorite and Discipline is my least favorite.
Interesting to share perspectives, now mine as far as a prog drumming. I am partial to his playing on the core Yes albums; The Yes Album, Fragile and CTTE vs his playing on those core King Crimson albums; Larks, Starless and Red. For me it is the fact they are better and more endearing compositions. For a hoot i really enjoyed him playing on the Genesis compositions because also they are such great songs. Only a few KC songs like Starless for instance are as endearing. Nerer really cared for the Simmons or roto toms era that others may appreciate.
If I could get my hands on Bill bruford's classic Boston Bruins suspenders but this is what Bill said about it. when I first came to the US as a kid and saw the Bruins logo in a store, I just thought it was a neat lettering to adopt, and I had no idea it was connected to a team. I’d never heard of the Bruins. Regret I am completely ignorant in all matters of US sport, NHL included! So I guess that's the story in a nutshell but I still thought it was cool that he used it obviously for his first name or last name even though these days he would probably get in to copy infringement rights or get sued but I think bruford actually put out some shirts like that at one time I don't know where to find them
Yep, Bill is probably my favourite rock drummer. A legend. I lost interest in King Crimson when he left. I think he's more of a jazz-rock drummer than a jazz drummer. He recorded an album with Ralph Towner and Eddie Gomez called If Summer Had Its Ghosts and, it hurts me to say this, but I thought he sounded rather out of his depth alongside the exquisitely delicate Towner and supple Gomez. Bill didn't sound as inventive as them and his touch seemed at times a little too heavy in their company. Jon Christensen or Jack DeJohnette would have been a better fit. I think Bill is best when polyrhythmic propulsion is required.
I'll argue the 'best prog album of all time' or of anything really idea. Sure it's at the top of the heap, but come on Larks Tongues might take some initiation into the Miles tones and meditation to boot so as to be able to be quiet enough inside to take in the quiet bits like the calimba that starts it off, but to my mind it stands up as a great relic of the time equal to at least to anything prog. Of all time is a tall order as we've already seen since Tower Records was the Place for seeking out the new records to downloads and loads of crap put out by kids just sitting in their home studios crooning with loops and samples and put them on a lighted stage and they wither. Red, KC, 1974: the yang to Close To The Edge yin. I mean, Jon Anderson has said that when they saw King Crimson his reaction was that they need to practice more. Of course Fripp is Fripp and the Anderson does drift without a Bruford or a White to reel him in. Just saying, the best of all time is always hyperbole in this universe where things fall apart every day.
That said, Bruford is one of my favorites too. My path into music was similar to yours as I got into metal as I started playing bass and then began to explore the influences of Iron Maiden that Steve Harris talked about in interviews. Then I met people in my habitat who showed me King Crimson, first album Beat since it was a keyboardist who turned me on. A drummer I still know turned me onto Yes and Rush in a big way. A cassette rip of an album of The Wall from a guitarist friend's girlfriend was my way into Pink Floyd. I always dug the quiet interludes like the trippy section in Rime Of The Ancient Mariner. To discover prog for me was like arriving in the Promised Land. It's why I took Grunge to be a sucker punch to my career. And it was. Pacific Northwest is probably the worst place in the world to be a musician. Unless you like playing for free, open mics aplenty. Nobody I know can keep up with my Yes and KC inspired skills. I seek escape before I'm too old to shine.
I didn't know the genre speak when I took this stuff in. Larks Tongues is just a great ride, a satisfying trip to me. All over the place? Ok, I guess I like some of that.
Being influenced by Bruford in the '70's and early '80's, it was never just about chops, it was always his unique sound explorations that really grabbed me. Unfortunately attempting to carry my own Bruford inspired unconventional timbre explorations into the blues, rock and gospel groups I was playing with at the time won me no fans.
My favorite crimson was the john wetton years I wanted to mention the live material of the wetton years of "usa", "the night watch" and "the great deceiver" 4 cd box - UK made a live record also. The talking drum always sounded like a rock version of free jazz The song starless always has special meaning to me, I used to listed to Crimson records with a friend I grew up playing music with but when he passed away the song always makes me think of him seems to have a kind of sadness to it. The mellotron adds an additional layer of nostalgia that makes the song so haunting to me, these days I avoid listening to it for those reasons. Interesting story about starless at 5:15 in this interview Wetton tells the story about starless ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-T2IuV_onpps.html I thought you might find these interviews to be interesting
Following Bruford was like exploring the progression of music for me as progressive rock leading to fusion leading to contemporary jazz. I think Crimson may have opened for Mahavishnu
Also I saw him -backin the day, still w/ YES,, at MADISON SQUARE GARDEN -PROMOTING THE CLOSETO THE EDGE ALBUM AND TOUR-he, and they were simply amazzzzinnn!!!
Bill and Alan White are both amazing, both are different but are close to perfect in their choices of how to play on each song. My fave drumming of Bill outside of Yes is with Earthworks. Not a big jazz guy but I love Earthworks. Not a fan of jazz fusion though, so I don't listen to that stuff he did very much.
What so you call a bloke with sticks who hangs around musician? A drummer. Boom Boom! What so you call a drummer without a girlfriend? Homeless. Boom Boom!
