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ALL HEAVEN BROKE LOOSEBill Bruford's EarthworksJazz Rock/Fusion3.00 | 31 ratings |
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![]() If you're one of those prog lovers who hate the very smell of jazz or simply cannot abide improvised sax solos, stay away! But if you're a more open-minded listener, with a true interest in Bruford's career, this album is essential listening. On ALL HEAVEN BROKE LOOSE Bill plays a mixture of electronic and acoustic drums. I'm not too crazy about his electronic drumming in general (with which he ripped to shreds, for example, 'Close to the Edge' on that AWBH live album) but here he fortunately keeps it under control. Several tunes open with Bill providing a gentle keyboard-like melody on chordal drums. He is then joined by Ballamy's sax and by Bates' sonorous peck horn (an instrument I'd never heard of, but it produces a very warm and intimate sound). Some of the tunes sound deeply melancholic (e.g. 'Candles Still Flicker...' and the opening of 'All Heaven...'), which makes you think: why isn't there any OTHER post-1980 solo album by a (former) member of Yes on which you can hear your heroes play such endearing, intimate melodies, in true collaboration with fellow musicians? (No ego-tripping here!) But even the sadder tunes invariably pick up speed, joyous improvisations take over, and Bill soon switches to acoustic drums. As usual, whatever he does sounds fascinating. Some special features: 'Forget-me-not' has slow and wonderfully poetic sax playing in the style of Wayne Shorter; on 'Pigalle' you can hear fake accordion music provided by Django Bates on keyboard; and 'Nerve' contains funky drumming reminiscent of 'Sample and Hold' (FEELS GOOD TO ME) as well as some playful 'keyboard abuse' that strongly reminds me of Dave Stewart. The only problem with this album is that the general mood is somewhat subdued, so I keep wavering between three and four stars. Most casual prog listeners will probably call it 'good, but not essential'. But it's a must for Bruford fans.
fuxi |
3/5 |
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