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of Bill Bruford and Bill Bruford’s Earthworks, Summerfold and Winterfold Records.
News & Views
‘Making A Song and Dance’: A Complete-Career Collection
UK & INTERNATIONAL PRESS AND PROMOTION SERVICES ALBUM NEWS ******ALBUM NEWS ******ALBUM NEWS Making a Song and Dance: A Complete-Career Collection Out on 29th April [...]
On Technique
One of the most frequent questions I get from beginning drummers is “How many hours a day did you practice?” There’s too much heat and [...]
INSPIRATIONS PLAYLIST – FINAL PART THREE
Hi again to all. I'm back for the final round three of my short commentary on the whys and wherefores of my recent 'inspiration' playlist [...]
Spotify ‘Inspirations’ Playlist: Part Two
Hi Folks, I'm back with a few more thoughts about my recent Playlist. Let's pick it up from where we left off in Part One [...]
Spotify ‘Inspirations’ Playlist: some comments
There’s been a strong response to my recent ‘Inspirations’ Playlist on Spotify. Several people have asked ‘Why these tracks; why not those tracks?’ I thought [...]
Saying Goodbye: Bill Bruford’s Yard Sale 14th October 2020
…not to the music or you, dear reader, but just to the tools of the trade. On the eve of this sale, parting is such [...]
News Digest: Summerfold and Winterfold Records releases
News Digest: Summerfold and Winterfold Records releases. Welcome! A lot has been going on at Bruford Towers recently. FYI, and for newcomers to this site [...]
TOP TEN MYTHS ABOUT DRUMMING…
...for beginners, educators, anxious mothers and those who still don’t think drums are musical instruments. 1. It's intensely physical: The practice of all musical instruments [...]
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The title refers to the idea of wanting to be a part of something, but yet being regarded by others – or yourself – as still an outsider. Too jazz for rock, and too rock for jazz. Earthworks needed a come-back album that took no prisoners, and much of this I really like. Great stuff here from pianist Steve Hamilton and saxophonist Patrick Clahar on ‘Dewey-eyed, then Dancing’.
This was the first time Michiel Borstlap and I had played together. We’d only met at an airport the day before. The music is almost entirely improvised, as it was to be on all the subsequent two CDs. Jazz improvising implies listening and participating in a conversation, as opposed to reciting a written text. Paramount for success will be the ability to listen, to know when and how much to contribute, and when and how long to be silent. If it could have been written, there would have been no point in improvising it.
The challenging circumstances surrounding this were described in my book. Musically, it doesn’t get much better than to have some of you own music arranged for a little big band of crack NYC players and to be able to present it in a top NYC jazz club. Steve Wilson’s alto sax solo on ‘Up North’ alone is worth the price of admission. Check this out – I can’t begin to tell you what fun it is to play drums in the middle of this lot.
Back by public demand! Bill’s first book, ‘When in Doubt, Roll!’, was first published in 1988. It has been out of print for several years and during that time has climbed to dizzying heights of value on the second hand market, currently selling for a couple of hundred dollars. Bill is regularly asked if a new affordable version will ever be published – and now it is to be!