BILL BRUFORD

Definitelly a very,very strong testimony of what was fusion at the end of the '70's!It's aLIVE document from a radio show,and despite the technical pretty low qualities of the recording,this album is something really exceptional!We have here 4 aces,4 tremendeous musicians in top of their form,delivering some excellent compositions,in the purest fusion rock vein,and most of all,their playing has this LIVE vibe that today is missing more and more from the actual very performant bands!In that age and time it wasn't at all the competition between musicians or ands to prove which is the best-the fastest-the loudest-the most technical or versatile-not at all!It was the pure and innocent passion for music and the feeling to offer good quality music to good quality music lovers!Each song is extremelly well done,performed to an unbelieveble high level of musicianship,and Bruford performance especially is ,together with the ones from his bandmates, 100 % at top!I strongly recomend this album not only to Bruford's fans,but to all those who love qood quality music and especially the drumer's drumer- I speak here about BILL BRUFORD-maybee the most versatile prog and fusion drumer around!Trully innovative and adventurous,Bruford was all the time surrounded by excellent musicians in all his projects-and this album is the perfect example for what excellent musicians can offer when the alchemy between them is perfect!Impressive interventions from all the musicians in a perfect cohesion and musical synergy in a marvelous LIVE musical document !4.5 STARS to a true LIVE document!Strongly recommended!

The existence of King Crimson will have been an exactly special band for Bill Bruford. After he participated in King Crimson, zeal and the action on his music changed and, of course, revolutionized shape by competing with various bands. In it, it is a well-known fact to have always exerted a large influence for other musicians.

At first, Bill Bruford had details that had not been elected as a drummer for the activity of King Crimson in the 90's. It is said that he had feelings of despair for this event. However, it became a situation in which the recurrence of music to which he was related to Yes and King Crimson in the 90's and he had to have eyes w originally and the starting point was reconfirmed. The directionality of King Crimson that rushed into in the 90's became the result of showing the difference of directionality of music and existence as Bill Bruford for Bill Bruford and the flow divided both surely.

The flow and the idea of this album might have had the part of good priming and the chemical reaction as one of the elements that "Earthworks" that one of the parts where his own music character was formed included starts in full scale in 1998. Russell Summers that proposed the idea of this album as a part to the details and might have reconfirmed happiness of Music Bill Bruford.

Because the appointment of Ralph Towner and Eddie Gomez with flexibility to be able to answer an original music character of Bill Bruford enough acts on this album well, too I will feel the necessity. The music that this Trio is exactly kept the even ground and created freely might function as one of the not simple Jazz/Fusion but complete sets. I will feel inevitability as music that this Trio exactly produces a transparent feeling and at ease extend to the whole volume.

"If Summer Had Its Ghosts" A transparent feeling that extends from the theme of the rhythm of 5-5-6 is impressive. The piano and the guitar of Ralph Towner freely performed continue the flow with a transparent feeling always. The drum in close relation to the line of Bass sounds gently. The originality of Trio not related in the form of standard Jazz has gone out.

In "Never The Same Way Once", the theme with the anacatesthesia that puts fast and slow is a feature. This tune is performed as one of the repertoires of the following Earthworks. The atmosphere of very good Jazz is developed. Solo of Bass in close relation to the progress of Chord with the feature also expands the width of the tune. The piano and the drum also freely create music.

The credit of "Forgiveness" is "Bruford/Ballamy/Bates". It might have been an idea that had already been completed as a tune for Earthworks. It puts on the melody of a beautiful guitar and the piano twines well. The anacatesthesia that keeps quiet progress and is performed will offer the listener originality and the technology of Trio.

"Somersaults" The sound of the guitar that there is a transparent feeling in the rhythm with the element of Latin twines. The progress of Solo of original Bass that is and a steady rhythm also improves the impression of the tune well.

As for "Thistledown", the rhythm to make good use of the electronic percussion twines round the melody of the guitar with a beautiful piano. And, ensemble of Trio gradually raises the quality of the tune. An acoustic part is reflected in the tune well and a transparent feeling is continued.

As for "The Ballad Of Vilcabamba", the sound that looks like the flute twines round the rhythm of the samba. The element of Ralph Towner cultivated by "Oregon" might be reflected in the tune.

"Amethyst" keeps an arpeggio of a beautiful guitar good, transparent feeling. The element with a good guitar ..ballade that went out.. has finished. Ensemble also splendidly contributes to the tune.

"Splendour Among Shadows" is from a loop of bell to the tune that a complex melody crosses with the rhythm. It might be a tune that the ability of this Trio is exactly demonstrated enough. It might be a privilege of this Trio that can perform such a tune.

"Some Other Time" is drum Solo played based on the performance of Joe Morello of the drum player whom Bill Bruford always holds in high esteem. It is finished ..Solo that he cultivates till then in addition to the part of Jazz that Bill Bruford interprets and coming technology and methodology are demonstrated satisfactorily... The individuality of Bill Bruford is exactly expressed in this Solo.

As for "Silent Pool", heavy atmosphere twines round the rhythm to make good use of the electronic percussion. The tension is continued with Bass. It might be a tune with a progressive side of this Trio. The performance of Bass that uses the bow also decides the impression of the tune.

"Now Is The Next Time" is a tune of which the color of Jazz/Fusion went out strongly in the tune of this album. The melody that unifies a transparent feeling and the anacatesthesia to the rhythm of the rhythm of steady eight feature. It has the part where Ad-Rib of the guitar also indeed has a transparent feeling. Solo of the drum that multiuses Polyrhythm is a German platform place of Bill Bruford in complete.

A good chemical reaction of this album is remarkably expressed as a part of the music character that this Trio exactly weaves. The atmosphere of Trio free, good performance might be transmitted to the listener.

Second solo album by Bill Bruford and his fusion group, this time without Kenny Wheeler, Annette Peacock, John Goodsall, et al. A nice follow up to Feels Good to Me, but more rock oriented, and a bit less prog (in my opinion).

It is a completely instrumental record, with no singing, but what I really miss are two things: Kenny Wheeler, and the complex song layouts of the previous offering. This one is more standard fusion, very good, indeed, but less varied and adventurous, with longer solo sections. It sounds a bit more like soloist plus rhythm section, plus some orchestral parts by Stewart's keyboards, who, without the flugelhorn, gets a more prominent role. Jeff Berlin and Bill are great once again.

This is one of the best fusion records out there.

The first solo album by Bill Bruford was a real change from his previous work. And he crafted a great record, helped by some of the best English jazz players of the time. It is even too jazzy if compared to many fusion groups, but I would say it is more prog, more composed than standard fusion. I find this to be more like playing jazz seen through the kaleidoscopic optics of prog.

Bill is great with the drums, which is an instrument that in many prog albums is downright badly treated. Here, Bruford delivers a real masterclass on drumming, keeping the pulse going while at the same time is always reshaping his rhythms, as many jazz drummers do. Very few prog albums come near this quality and beauty in drums, if any (except Bruford's)

Holdsworth is not always my cup of tea, with all those slurs up and down, but on this record, early on his career, he does a good job. Very good job also by Berlin and Stewart. And Kenny Wheeler has been one of the most important modern jazz trumpeters for the past 40 years (and still is), with a very personal style; I would love to listen to things similar to his playing more often on prog records.

The weakest moment is when the voice enters on Back to the Beginning, it is too loud for me. But it gets better balanced when it enters again after Holdsworth solo, and it is beautifully whispered to finish the song. Maybe this was intentional, but the beginning doesn't sound right. And right then, on Seems Like A Lifetime Ago (Part One), it is too low. The singing is also too jazzy for rockers, even for proggers, but I like it. It's more an issue with the mix.

I feel that in general prog has not incorporated enough things from jazz, and Bill Bruford is just the right example of this. I'm not speaking of the long solos, or dissonant harmonies, but of the way every instrument is treated more as an independent entity (I also think that jazz has not incorporated enough things from prog). I recommend you to also listen to his Earthworks output, specially their self titled first record and All Heaven Broke Loose.

If you like Brand X, Return to Forever, etc. check this out. It's better.

One of really interesting Bruford albums. First of all, the style is pure fusion ( as it was on his previous solo albums). One of leading instruments is bass, and Jeff Berlin is perfect fusion guitarist. Just listen to bas driven "Joe Frazier"!

Total album's sound is heavy fusion, and in places remind me UK albums. How I understand from reviews, main problem for some listeners is Berlin vocal ( he is lead vocalist there). For me his voice is absolutely acceptable, even pleasant. It give some specific atmospher to all music. But even without that, musicoans are of highest class, and music also. Bruford drumming is not a main accent of this recording, but is competent. Stewart uses heavy synth, which gave to all music characteristic sound of that time.

I believe, that this album is one of strongest Bruford solo work. It consists of heavy fusion with rock elements, and should attract everyone, who likes UK music.

My favorite Bill Bruford Solo release, and one of my favorite Jazz/Rock recordings at all. Not to mention def. my favorite Jazz/Rock records with a female vocal.

This Bruford first solo, shows a compleete change in style, compared to the work he had done with King Crimson & Yes. He has now moved from a Rock drummer, playing an extreemly complicated rock drum. To a straight forward Jazz drummer. An a great Jazz composer, quite a few tracks are his creations alone, even the lyrics.

All that said about Bruford, what makes this masterpiese work that well is not his doing alone. Allan Holdsworth play a super guitar, both Lead and Rythm, Jeff berlin on bass is just great. The Horn by Kenny Wheeler, The Key's by Dave Stewart, it all ads to the mix. On top of this amasing vocal preformance by Annette Peacock.

Style wise the album is quite varied, from up tempo sections with a clear Rock influence to the softest Jazz. All together it comes out rather laid back. Far from demanding in the way some Jazz/Rock recordings was in the 70's (Mahavisnu & Weather Report in particular). More in the line of Return To Forever. But still in its very own right.

If you like Jazz/Rock this is a must have recording. Bruford beeing THE most important prog drummer, This beeing IMO the best Jazz/Rock recording he ever did.

Just got to give my first Jazz/Rock review a 5 star

I listened this, second, Bruford solo album straight after I finished with his first one.

No Anette Peackock's vocal, no horns, more difficult rhythms and structures - I can see world class fusion at the level of best Return To Forever albums.

OK, starting from here I feel more and more cold in Brufford work, more technics, less emotions. You can feel Bruford's jazz Earthworks there in the sound of "One of A Kind". More formal jazzy acrobatics, but - it's a question of taste , I think.

So, I just can say, that it is technical and musical peak of Bruford solo projects. Just remember - it's fusion, not prog in Yes or KC style at all!

For fusion (RTF type) lovers it is highly recommended album.

First Bruford solo album consists of traditional fusion,kind of RTF style. Very professional, melodic, with horn section and some vocal.

This music is really far away from his work in Yes or KC. But for fusion lovers it is nice album, even if some of them wouldn't be very happy with Peacock voice. For me she sounds sometimes as early Gong singing, but it is a question of taste.

Most impressive thing on this CD for me is perfect Holdsworth guitar work. It realy makes the music much more different and attractive. Bruford's drumming is very competent, but as for me isn't individual or attractive enough just to catch your ears.

All in all, very competent fusion CD of it's time. Even it's a little bit too light and sounds a bit polished for me, I think bigger part of fusion fans will like it.

This is one of those albums that is such a pleasure to listen to.Bruford could almost get whoever he wants to play on his albums because he's so respected, so yes we have an all- star lineup. Besides one of the best drummers i've ever heard Bill has Dave Stewart of HATFIELD AND THE NORTH and NATIONAL HEALTH fame on keyboards.Jeff Berlin an American Jazz bassist who is famous for not only his playing but for turning down a job offer from VAN HALEN. And the great Allan Holdsworth on Guitar who's solo career and work with SOFT MACHINE,Tony Willaims and others is well known. A more stripped down affair when compared to Bruford's debut, and it seems to work better. "Hell's Bells" is a song Stewart and the late Alan Gowen wrote together, and thankfully we have the pleasure to hear it on this album.Pulsating synths with bass as Bruford joins in the fun.Holdsworth comes in at 1 1/2 minutes as Stewart backs off,he then returns late. "One Of A Kind Pt 1" opens with drums and keys before vibes then guitar arrive.It settles and blends into "One Of A Kind Pt 2" where it stays calm as drums and other sounds come and go.It's building 1 1/2 minutes in.Guitar after 3 minutes then a big finish. "Travels With Myself-And Someone Else" is pastoral early with piano.The bass before 2 1/2 minutes is prominant.Lots of keyboards in this one.Drums and guitar become more of the focus later. "Fainting In Coils" opens with spoken words before the music kicks in.This sounds really good then it lightens.This contrasts continues.The guitar is excellent.Organ after 3 minutes as it settles.Cool sound(Stewart) after 4 1/2 minutes then it kicks in again. "Five G" has a nice bass intro and i like the drumming too.Check out the guitar after 1 1/2 minutes. "The Abingdon Chasp" is led by drums,piano and bass early.Guitar before 2 minutes then the tempo picks up. "Forwever Until Sunday" is a moving piece because of guest Eddie Jobson's violin playing.A change before 3 minutes as the tempo picks up and it gets fuller.It ends as it began but instead of violin it's guitar.Cool. "The Sahara Of Snow Pt 1" is spacey to open then we get some piano after a minute followed by drums and a full sound.Nice.Vibes too. Bruford is amazing here.Holdsworth's turn 2 1/2 minutes in then it gets spacey again before kicking back in.Great sound. "The Sahara Of Snow Pt 2" has a heavier sound to it with clapping.It works actually then the guitar starts to play over top.I like it.Check out Holdsworth and Bruford here. A very good Jazz/Fusion album all around.

The activity of reformative music of Bill faces the revolution with this album in the age. It is guessed that the directionality at which he had consistently aimed continued without extremely changing though some the reasons exist. However, it is true in this album that became it for them at the end that groping and the change were surely seen. It is an element of POP by the song of Jeff after Allan secedes though the flow of the music character is followed. And, it was likely to listen to the performance of the person who was called John Clark of the guitar player who changed into Allan and joined the band and to have compared it by the listener with Allan a little being puzzled. The appointment of famous work with "Weather Report" Ron Malo certainly expands the width of the sound a little on the contrary. However, I do not understand whether the appointment of Amanda Persons and Barbara Gaskin acted well with this album, too. The listener might feel that the element of Hatfields and National Health is certainly taken to this album. Element..POP..element..combine..a little..directionality..chaotic..impression..give.All tunes are not the translations at all said it is bad. The musician who gathers has a high technology. However, they might have had them a little established of the habit of each performance too much. Live and the tour were high very performances of the level. However, the cost of carrying or carrying out machine parts is true in them becoming it impossibility to put out work due to the event. Not having succeeded in commerce except a high-quality performance received clarified sarcastic.

Tune "Age Of Information" guitar that symbolizes this time really recalls Allan because it has the tension of the level that is POP a little. And, "Gothic 17" impressive the progress of the code that Dave performed at the time of "Egg" Dave that performs such a tune shines really. I am wishing still when it wants you to pursue this sensibility further.

Jeff is trusted Bill has been rejected to Robert Fripp though they tried to participate in King Crimson in the 80's. The situation of Prog Rock might have moved to the revival of Crimson in the 80's and the revolution and the tohubohu be pressed to the situation of a surrounding band.