Bill Bruford performing "Indiscipline" live at his Drum Clinic at Mohawk College, November 14, 2006 in Hamilton, ON. Best video quality I've seen so far from this clinic, but I should have brought a tripod :-(.
@@BigWill2k they had some issues another thing that annoyed bruford was fripp saying he wanted him to develop a style for crimson only which was mentioned in the documentary prog britannia on youtube.
Damn I love King Crimson. I wish more people could appreciate their music rather than the typical hard rock or punk bands. Bill's one of my favourite drummers.
I Love Bruford. Amazing Cerebral Drummer. His Early Yes stuff( The First Self Titled and 2nd L/P Time And A Word Show How far ahead of his youth he truly was ) Is Dynamic and after Close To The Edge he felt he needed to expand his horizons and That that was The Top of The Pinnacle as far as drumming for Yes was concerned. His Crimson work and Uk speak for themselves. Other great Rock Drummers with The similar Jazzy Skills were IMHO Phil Collins( his drumming on S.E.B.T.P was more than exceptional as was much of the Lamb. His Brand X stuff is The Icing as far as I’m concerned ) is Great as well as Mitch Mitchell(R.I.P.), Ginger Baker(R.I.P.), Robert Wyatt, Carl Palmer( Fast and Flashy at times due to ELP’s demands, but incredible timing and never sloppy, his early Atomic Rooster and Crazy World of Arthur Brown shows the Procession of Greatness ) excellent and The Only Rock drummer of interest to The Late Great Buddy Rich, Phil Er hart, John Pannazzo (R.I.P.), Keith Moon( Crazy Wild Style, but his Fills along with Entwhistles Master Bass Playing defines the Who with one of the greatest Rhythm sections in rock history), Charlie Watts( severely underrated ), Nick Mason( even more under appreciated, especially early Floyd pre- Dark Side of The Moon...... Live in Pompeii shows his skills with a minimal Kit ), Neil Peart ( The Professor for a Reason ), Danny Carey, Gavin Harrison, Barrymore, etc... many others I failed to list as well. Some rocked out at times, but all are quite skilled( some more than others obviously ). Bruford is right there at the Top though IMHO. Wish he would have toured with Genesis longer than only The Trick of the Tail Tour, but his awesome improvisational playing didn’t fit the repetitious exact standards of Genesis at times. On Seconds Out Live Genesis Album, it’s him playing on Cinema Show and it’s phenomenal as always. Wish he’d come back from retiring, but he’s been around for ages and has absolutely nothing to prove.
Look at that. He's got cleaner playing, neater rudiments, and faster chops than most rock drummers and he's not flailing all over the place like some of those circus acts out there-but instead by the end of this he looks more like he's standing still in front of his kitchen counter, dicing cucumbers or something. It's fascinating, really.
Well no shit he's not playing rock! At no point was I rocking out to anything he played; so of course he doesn't look like a drummer who is "rocking out" lol. He is good but he's definately not rocking right here, just showing off his old man jazz drum roll skills.. fucking boring. Now yourgonna try and come back with but look how precise his strokes are, yeah yeah stroke me, there's a reason no one can head bang to this. There's no good rhythm.
Kendell Reese _"At no point was I rocking out... fucking boring. There's no good rhythm."_ --Kendell Reese Rock solos seldom demonstrate this level of jolting power, dynamic contrast, and metrical intrigue. Phenomenal rock drummers are consistently playing terrible solos, typically resorting to grooveless bashfests and soulless celebrations of technical wizardry. I was just listening to some Mike Mangini and Marco Minnemann, and those guys -- despite their Berklee pedigrees and world-class chops -- just seem to be unwilling to do what it takes to craft thought-provoking solos centered on dynamics-laden, alluring motifs with plenty of breathing space. Kendell, this Bruford track is a stellar display of high-end rhythmic composition, and if you were to give _Indiscipline_ a chance and really study it, I guarantee you would come around not only on it, but on Bruford generally. It would assuredly influence your playing, and bring you to a higher plane of competence and comprehension. This is complex, heady stuff, and it takes a lot of curiosity and investigation to go willingly into this polyrhythmic world and develop the knowledge necessary to appreciate it. Keep the drums alive, my man.
Saw him with Yes in 71' Crimson in 74' and then Crimson 80'-84' and with Earthworks a bunch of times. He never ceases to amaze me. He has such subtle technique combined with a real musical intellect that a lot of drummers never develop.
Hell no. Bozzio needs that ridiculously huge drum kit to do half of what Brufford does with a small one. I think Brufford's level is more similar to Gavin Harrison.
I guess I probably should have presented my comment with a more positive spin, since I'm a big fan of old prog, new prog and metal as well. Sometimes however, it seems like some of the "1000 bpm" drummers play with such a robotic style that I lose interest watching them because they just seem to be "going through the motions." Of course, that could be the focus that it takes to play at such a high level. I was fortunate enough to see Buddy Rich in concert back when I was in high school. To this day, it remains the most impressive musical performance I've ever seen. His passion and energy throughout the entire show is something I'll never forget. You certainly made some valid points in your comments and I absolutely agree with you.
@Kal El Yess! Pun intended! DC's kits have become huge and elaborate and I love how he's blending electronics and keyboards in with a gong, giant acoustics and a monster double bass. Warnings go out for seismic activity when Danny's is drumming. When Brumford tickled these skins, you could see that same effortless power that we see in Danny.
Truly unique. Buttery, seemingly effortless rolls and patterns. So creative. Terrific rhythmic passages. Thematic. Dynamic. Redesigned what one might apply in a given space. Never gets old.
What's amazing is he had it as early as the first Yes album.. The song "A Venture" on The Yes Album just astounds me what he does at the end and yet it couldn't have been miked more perfectly.
His work with Yes is wonderful! Steve Wilson remixed The Yes Album recently, where there's an extended version from the original recording. Here's the longest recording I could find however: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-W8iDFIgnaus.html
Cómo fue eso? Cuando se fue de King Crimson? No es sólo un baterista... cada vez lo admiro más, y sobretodo en la época con Levin y Belew, de mis 20 años.
I've been playing since I was 8 and after 39 years of practice I think I might be showing a little improvement...but nowhere near Bill Bruford! He's simply incredible. One of my favorite drummers of all time!
Okay, I scrolled through plenty of comments and no one said anything about his setup. He started using this setup just a few years before he retired. It's harder to tell in this video than in others, but, as you can see his hi-hats are right in front of him, all of the toms and his snare drum look parallel to the ground. Also, instead of the typical arrangement of toms where they get bigger from left to right, or from right to left, it looks like they're arranged like a set of quads (tenors) in a marching band drumline. I'm just a little surprised that no one said anything about the setup. Why would he wait until the last few years of his career to make such a significant change?
drulius That's a good point. Yeah, I'd love to see him, Belew, Fripp, Levin, and whoever else get back together and record another King Crimson album. I'm not holding my breath though.
Its interesting that you noticed the setup , i am not a drummer but i technically experiment on them , the hi-hat in front is probably for ease of movements , i also noticed the base-drum is right next so he can sit in the center, with right foot on the bass and left foot (hi-hat) on a pedal extension to the left (well i'm not sure) in an even distance , thus having his body straight, and crashes splashes n all that are evenly on the left and right. He once said on an interview that he is not pleased with his left hand , maybe this is his solution to work on it. Great !
frigital He said he wasn't pleased with his left hand? So modest. Do you remember when that interview occurred? As for this setup, I wonder why he started using it just before he decided to retire. He may have been experimenting with new setups before that decision came along. Too bad a certain setup didn't fire him up enough to postpone retiring for a few more years.
In the 1980's I saw him twice with Pat Moraz, at the Chestnut Cabaret in Philly, playing their acoustic jazz work. Got to have pizza with him and Pat before the 2nd Chestnut Cab Concert. Very nice and open guy who lives and breathes music and drums
You're soooooo lucky.. I'm 19, so I never had the chance of seeing them in their prime and in fact will probably never see them now... though at least I get the privilege of being able to enjoy their masterpieces AND 21st century masterpieces, as well.
269,826 views, *sweet*. I like to think some of these views are the result of people like Neil Peart and Danny Carey mentioning to people who may not have been aware of Bruford ...."there's this pioneer drummer named Bill Bruford we all were blown away by growing up"
The layout and sound of Bill's drums may have changed over the years (he seems to have it tuned more like a jazz drummer here) but that fantastic snare sound is the constant.
"comme un batteur de jazz": Vous n'aviez pas compris que Bill BRUFORD est un BATTEUR de JAZZ, qui a mis son art à disposition du ROCK PROGRESSIF ! Le batteur et percussionniste le plus fin et le plus intelligent au monde.
Hard to believe this incredible drummer used to play for Yes - and then quit! His drumming on those first 5 Yes albums was the foundation of their sound. After he left they became zzzzzzzzzzzzzzz for me. Lovely songs, lovely playing by Rick and Chris and Steve et al, lovely vocals by Jon, lovely harmonies....weird-as-fuck lyrics by Jon (of course), very dull drumming, very ordinary rock time-keeping. But in the beginning, behind all those guitars and keyboards and vocals was a jazz drummer extraordinaire. And it worked so damn well. What a loss for Yes, but what a career for Bill - THE greatest drummer in my lifetime.
I agree almost 100%. Bruford was unmatchable as far as Yes was concerned, but one Album Alan White( his replacement and as you stated more of a Rock Drummer ) is surprisingly exceptional on is Relayer. Not near Bruford’s Level, but Very Good Drumming nonetheless. Definitely better then his drumming on Tales, Going for The One, Tormato or Drama.
@@philseida5238 Since Bill was always his own man he oftentimes drove his bandmates crazy. He kept them on their toes when maybe they wanted to settle into what they had written and play it the same night after night. So the arrival of Alan White brought predictability and stability behind the drums. Maybe Alan played what he was told to play? Maybe it was the post-CTTE music Steve and Chris and Jon wrote that called for more basic drumming? Whatever the case I found Yes music relatively boring after Bill left. The drumming on Relayer is frantic and frenetic, very intense, driving. Still just a lot of noise to me. I listen again and again to Bill's drumming on Roundabout, say, and Heart Of The Sunrise as great Yes music. Bill drives the music, yes, AND fills the soundscape with his light jazzy touches too. In many ways Alan's coming was timed perfectly: Yes was now big enough to play in huge arenas and stadiums, where a driving basic-rock drummer could be heard. Bill's jazzy nuances would have been lost in such places; he would have had to resort to basic 4-4 bashing in this context ( as he indeed did on the ABWH tour, where he played his own Yes songs much like Alan had, sad to say. ).
The ONLY thing I don't like that Alan White does is when he kept the beat straight in Starship Troopers. I always prefer Bill Bruford's drumming on that. Apart from that Alan White is one of my favorite drummers. Tales From Topographic Oceans, Relayer, Going For The One, 90125 and Big Generator are some of my favorite albums of all time, let alone favorite Yes albums.
On the surface he looks like a an unassuming dentist from Dorset or a NASA flight director…in reality, we all know he is an absolute monster on the kit!
It was very nice to hear and find how unfamiliarly the drums provided the right answer while Bill was continously provoking that kind of sorted mess around the kit...
One thing is certain. Bill Bruford is Bill Bruford. His style is his own and no one else. Lucky us we live in a time where we can have the experience to see and hear what real talent looks and sounds like.
Wow, I can't believe this. I have this on DVD. I went to this clinic with my drum teacher, I'm pretty sure that's him rearing with excitement when Bruford announces the song.
I’m completely baffled. Flabbergasted by his uncanny ability to chop an odd meter into a series of seemingly disconnected alternative meters and yet NEVER lose sight of where ONE is !! I’ve said it before and I’ll keep on saying it : Bruford is a genius. Just an absolutely amazing player.
Good thing for that metronome click. Bruford, of course, doesn't need it, but it helps when you're listening, because he's going to play all around one, and it helps a listener stay on tempo while interpreting the patterns.
Thank you for sharing this and never mind the tripod! You did well without one and the few little wobbles aren't enough to distract. You got an excellent view. Some footage drives me nuts: spectacular drum break and it shows the bassist playing a single note; fabulous guitar lick and we see the drummer when he's adjusting his hi-hat… you know the kind of thing I mean, even if I am exaggerating. This gives a great, straight view; I can see what his hands are doing.
What Bill says is true, with regard to dynamics. Like a movie or a painting, there are colors and shapes that draw the eye (ear?) & lead to other lines and imagination that requires resolution into one as a whole. Easy to explain and much more difficult to demonstrate... Thank you, William 😁
Drum noodles the Bruford way....,!!,!,! After many many years of studying Mr B, I have merrily concluded that he should be preserved for science in order to benefit the indisciplinarians amongst us.
Jesus, the way he can just change time signatures in mid-stream, without ever losing the original downbeat. He's backed up by a prerecorded playback of course, and I'm glad, because honestly I'd probably get lost, and maybe miss some of the interesting patterns.
When you've got the most distinctive natural snare sound ever, it'd be nuts to ever change it. No matter what music Bill has played on (even rockabilly with Roy Harper), I can always ID Bill just by his snare sound. His snare should be put in a museum once he's gone.
