(Book). Bill Bruford once called "the godfather of progressive-rock drumming" has been at the top of his profession for four decades, playing with Yes, King Crimson, Genesis, Earthworks, and many more. The Autobiography is his memoir of life at the heart of prog rock, art rock, and modern jazz. It is an honest, entertaining, well-written account of life on the road and in
(Book). Bill Bruford once called "the godfather of progressive-rock drumming" has been at the top of his profession for four decades, playing with Yes, King Crimson, Genesis, Earthworks, and many more. The Autobiography is his memoir of life at the heart of prog rock, art rock, and modern jazz. It is an honest, entertaining, well-written account of life on the road and in the studio rubbing shoulders with the famous, the less famous, and the infamous, and creating an impressive tally of great music. A rock musician with the temperament of a classical musician who became a jazz musician, Bruford defies all the cliches about drummers. He says: "You write what you have to write, you play what you have to play, because you can't sleep at night. If you can sleep at night, you shouldn't be doing this anyway." From time to time, at polite dinner parties, someone will ask Bill what he does. He replies that he is a musician. "Yes, but what do you really do?" retorts the enquirer. This unusual, funny, and insightful music memoir answers the question.
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Bruford's autobiography is much more than the story of his life, it's a laying bear of his philosophy of music as well as a fascinating account of the changing face of the music business. Well worth a read, especially if you are a musician.
I SO wanted to give this book by drummer Bill Bruford five stars. The main problem is a couple of dead weight chapters at the beginning and a bit of a draggy ending. That said, this is probably the best rock musician autobiography I have read and sets a sort of gold-standard for that sub- sub- sub-genre.
The book starts off in a scatter-shot manner as Bruford opines on topics near and dear to his heart: being a jazz drummer trapped in a rock drummer's clothes, the superiority of the American work
I SO wanted to give this book by drummer Bill Bruford five stars. The main problem is a couple of dead weight chapters at the beginning and a bit of a draggy ending. That said, this is probably the best rock musician autobiography I have read and sets a sort of gold-standard for that sub- sub- sub-genre.
The book starts off in a scatter-shot manner as Bruford opines on topics near and dear to his heart: being a jazz drummer trapped in a rock drummer's clothes, the superiority of the American work ethic over the British, and his universal low regard for band managers and concert promoters. Everything is infused with Bruford's rapier British wit and more than a few British spelling anomalies (I lost track of how many times the word "tire" is spelled "tyre.")
Bruford's insight into his time playing with Yes was rather perfunctory (although he does manage to get in a couple of jabs at bassist Chris Squire) and his account of time spent with the band Genesis is disappointingly short.
Then comes chapter eight, entitled "What's It Like Working with Robert Fripp?" It is at this point that the book picks up and sparks really begin flying. It is clear that there is absolutely no love lost between King Crimson's spiritual leader and Bruford. Bruford pulls no punches concerning his time in Crimson, describing Fripp as "...one part Joseph Stalin, one part Mahatma Gandhi, and one part Marquis de Sade." The drummer not-so-affectionately calls the band his "spiritual home with a bed of nails."
After chronicling his time spent in King Crimson, Bruford talks at length about starting his own jazz ensemble and the differences between working in the rock music world versus the jazz music world. These chapters work well and Bruford's insights about deliberately choosing to play a "less popular" style of music are fascinating.
Still later Bruford includes valuable insights about the struggles of the traveling musician, opines on why the portability of music might not be a good thing, and lets loose with some seriously great insight into the homogenized pop music culture of the 21st Century. As I mentioned, there are a couple of extraneous chapters near the end but the final chapter (called "Letting Go") is poignant and provides a fitting end to a nice book.
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As close to a "5" as I expect to read in music autobiographies, anyway. Bruford's writing is witty, studious, worldly, and introspective. He has great stories out of school, since he played drums with Yes, King Crimson, UK, Genesis, and others, but his mature career and true love has been jazz, to which he has dedicated most of his energy for the past 20 years. The main subject of this book (maybe more than himself) is the music business and culture, and I haven't read a more comprehensive insid
As close to a "5" as I expect to read in music autobiographies, anyway. Bruford's writing is witty, studious, worldly, and introspective. He has great stories out of school, since he played drums with Yes, King Crimson, UK, Genesis, and others, but his mature career and true love has been jazz, to which he has dedicated most of his energy for the past 20 years. The main subject of this book (maybe more than himself) is the music business and culture, and I haven't read a more comprehensive insider analysis of its foibles, follies, and passions. Bruford has organized the book not as a chronicle of his life but as his in-depth answers to a series of interview questions. That is, each chapter has as its title a typical question of the kind Bruford got asked throughout his career (and he always did good interviews): "Yes, but what do you do in the daytime?" "What's it like working with Robert Fripp?" "Do you just play anything you like?" (a question especially beloved of drummers) "Is it different, being in jazz?" "Is it difficult, with a family?" et cetera. Much of the book is polemical and defensive, not surprisingly: fans never got why he left Yes at the peak of their popularity in the early 70s, why he quit Crimson to form his own band, why he cares so much about jazz (primarily with his excellent ensemble Earthworks, but also in numerous side projects). The bulk of the book defends art over commerce ("this pop entertainment lark is all very well, but we musicians, we muddy foot soldiers -- and there are plenty like me -- thirst to generate a music worthy of serious consideration") and the final chapters defend his decision to retire from live performance, which he did last year.
For book-lovers, i.e. readers who like the physical object as well as the collection of words inside, this is a really nice buy, a well-made and beautiful book (heavy paper, full-color photos, stitched binding). Kind of like Bruford's music and his philosophy about it: painstakingly crafted with modern technology that also subscribes to traditional artistic values.
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If you are a fan of the prog rock era, this book is for you. Bill wrote some very interestings insights into the world of being a professional roack and jazz musician. I am not sure this book is just for
"Anyone". If you are not a fan of music, you may not be to into this book, however if you are a music fan and have enjoyed groups lie Yes, Genisis, ELP, UK, King Crimson, etc, than this book is a must read.
I very much enjoyed reading it, and the paperback is very high quality. The pics are great
If you are a fan of the prog rock era, this book is for you. Bill wrote some very interestings insights into the world of being a professional roack and jazz musician. I am not sure this book is just for
"Anyone". If you are not a fan of music, you may not be to into this book, however if you are a music fan and have enjoyed groups lie Yes, Genisis, ELP, UK, King Crimson, etc, than this book is a must read.
I very much enjoyed reading it, and the paperback is very high quality. The pics are great as well.
TO my suprise, Jim Baugh Outdoors TV was written about in Bills Book. He wrote about his visit on our show, and he was very kind. I did not know this until I read the book, very cool, and was a very nice gesture.
Regardless, a fascinating book that any music lover would enjoy!
Five stars here
Jim B
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Bill Bruford came to fame early as the drummer for progressive rock band Yes before leaving to strike out into more challenging musical territory with King Crimson and then various jazz and jazz-rock groups. This is a bittersweet autobiography, as it was written at the point at which Bruford had decided, after forty year's active service, to retire from being a professional musician. Bruford is very much a thinking drummer, and this is a thoughtful autobiography. Much of what he says about the p
Bill Bruford came to fame early as the drummer for progressive rock band Yes before leaving to strike out into more challenging musical territory with King Crimson and then various jazz and jazz-rock groups. This is a bittersweet autobiography, as it was written at the point at which Bruford had decided, after forty year's active service, to retire from being a professional musician. Bruford is very much a thinking drummer, and this is a thoughtful autobiography. Much of what he says about the problems of maintaining confidence in one's abilities, and of dealing with a rapidly evolving (devolving?) industry, I could identify with from my own (much more modest) writing career. There is at times a slight whiff of "you young people today don't know how lucky you are" at which I suspect the younger Bruford would have taken umbrage - but this is still well worth reading for those interested in Bruford's musical career or in what it's like to try to maintain a meaningful career in the creative arts.
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This book is an autobiography of an interesting man, but he intersperses his own story with comments about musicianship, the definition of success, and balancing your life between your family and a very demanding career. I found the latter to be the best parts (:
If you're expecting the usual rock star "let me tell you how great I am" biography, you'll be happily disappointed. Instead, it's a remarkably honest look inside the world of the professional musician. Very entertaining.
Bill Bruford, I have to admit, has fascinated me ever since I got into progressive rock. This guy played in King Crimson! And Yes! AND Genesis, too! Wow.
As it turns out, Bill is an outspoken and well-mannered English gentleman with a lot to say about music, life on the road and the changing seasons of pop, rock and jazz music. Even as someone who fosters no love, just indifference and lack of exposure, to his pet project, the jazz group Earthworks, which takes a very prominent role in the book t
Bill Bruford, I have to admit, has fascinated me ever since I got into progressive rock. This guy played in King Crimson! And Yes! AND Genesis, too! Wow.
As it turns out, Bill is an outspoken and well-mannered English gentleman with a lot to say about music, life on the road and the changing seasons of pop, rock and jazz music. Even as someone who fosters no love, just indifference and lack of exposure, to his pet project, the jazz group Earthworks, which takes a very prominent role in the book towards the end, the book never becomes boring. The insider's view into the "business" and profit-making of jazz music provides ample food for though to the initiated and uninitiated alike, although some passion - in the hidden depths of the sacred art of music - is required to sympathize with the tortuous path of the jazz warrior.
The book rises above your mama's average biography by being well-written (and hardly ghostwritten), and also by the amount of insight it sheds on the psychology and sociology of a world class drummer struggling to come to terms with self-identity and the notion of "leaving something behind" in an age of fierce global competition. Art is business.
Part humorous, part melancholy, the darker side of the craft is exposed, rhythmically, to the sunlight. Written at the dawn of his retirement, the book is part self-catharsis and part well-mannered, calculated outburst (the sort you would expect a polite, middle class father and family man from Kent to deliver), a riddled repository of a long life of observations.
There is rhythm, too, in the cut-and-paste feel of the book's meandering and jumping observations. As is proper to a jazz player, there is not so much a premeditated structure but a series of juxtaposed themes that run through the whole book, waxing and waning, foregrounded and backgrounded, in their turn. There is mastery in the pen as much as in the drum stick.
At 350 pages, densely packed, the book is certainly a modestly demanding heavy-weighter. Luckily the diary-like oscillation between the many elements - the psychological insight, the historical musings, treatises on the nature of music, observations about the primate psychology of his band mates, frightening references to Robert Fripp, etc - provides a pleasant mixture of loud and soft, fortissimo and pianissimo, neatly separated into roughly 20-page chunks (chapters).
The jazz-like nature of the book's outline betrays a complexity of composition. As Bruford himself writes: "Arnold Schoenberg allegedly maintained that 'all composition is just very slow improvisation', and we [jazz musicians?] accept the corollary, that improvisation is extremely fast composition, to be equally true. Ideally, the listener cannot hear the join between the two - the composed sounds improvised and the improvised sounds composed." (p. 327) Thus with the book.
There are only two major faults with the book (being the nasty reason for the deduction of the star that shines brightest in the score): 1) Insufficient track-by-track insight into the drum parts of the classic King Crimson and Yes days. How did they do that thing in Discipline? This fault he readily admits and claims to have no interest in such details. But the reader does. 2) The jazzy structure contains some - not many, but some - parts where recurrent themes or citations are repeated needlessly; or where some boring sidestory is foregrounded for a page too long. This kind of excessive baggage should have been cut and the book would have been a perfect 300 page package. But surprisingly it feels more like a 200 page book, even with its extra baggage.
Overall, recommended reading for anyone interest in progressive rock, drumming or just high-craft musicianship. The book performs a somewhat meandering but masterful exercise in textual jazzing - a study of the rhythms of one's life story - that only a dedicated musician could give.
For a fan of "the Might Crim" - or of the early history of "Yes" - this book is a goldmine.
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Lots of Yes fans, King Crimson fans, jazz-rock fans, and jazz fans know that Bill Bruford is an excellent drummer. But who knew that he's intelligent and articulate enough to write an autobiography in brilliant, literate, and witty prose? Read this book and see for yourself.
It's got poetic descriptions of drumming and good jazz gigs, a sprinkling of musical disaster stories, wry observations on the music industry, and tons of thought-provoking philosophy about music and its relationship to the
Lots of Yes fans, King Crimson fans, jazz-rock fans, and jazz fans know that Bill Bruford is an excellent drummer. But who knew that he's intelligent and articulate enough to write an autobiography in brilliant, literate, and witty prose? Read this book and see for yourself.
It's got poetic descriptions of drumming and good jazz gigs, a sprinkling of musical disaster stories, wry observations on the music industry, and tons of thought-provoking philosophy about music and its relationship to the rest of culture. His book also documents the difficulties of balancing his work with family life, and reviews the many psychological hazards of touring.
As the book nears its end, Bruford meditates on his forty-year career, the weight of growing old and dissatisfied with his limitations, and his desire to leave the stage to make room for younger players. He has retired from performing in public. Let's hope he doesn't retire from writing just yet.
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Acerbic wit jumps out from the page at you. Thrill to stories concerning Chris Squire's tardiness, Be taken aback that Mr. Bruford actually bravely ended his tenure with The Almighty Crim, Savor the knowledge in hushed tones concerning the elusive "He Who Could Give Them Life"
(Actually Mr. Bruford does not come across as "acerbic" at all, the word just sounds fitting before "wit")
Bill Bruford has written a Fabulously Marvelous Terrific and Thoroughly enjoyable autobiography from his very unique
Acerbic wit jumps out from the page at you. Thrill to stories concerning Chris Squire's tardiness, Be taken aback that Mr. Bruford actually bravely ended his tenure with The Almighty Crim, Savor the knowledge in hushed tones concerning the elusive "He Who Could Give Them Life"
(Actually Mr. Bruford does not come across as "acerbic" at all, the word just sounds fitting before "wit")
Bill Bruford has written a Fabulously Marvelous Terrific and Thoroughly enjoyable autobiography from his very unique standpoint in the annals of Prog Rock and his wit (acerbic or otherwise) shines through within every sentence (O.K most of them) you will be hard pressed to keep a smile off your face (That is of course unless your not already saying Bill Who???.........) or are reading this first and easily annoyed by amateurish "I cant even call it a review" on some weirdos blog. I'm Loving this book!!! *****
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When I bought this book, I was expecting it to be an amusing but forgettable account of Bill's Bruford's life. What I was not expecting was a brilliantly-written book not only about his life, but about the music industry and the nature of music itself. Whether you're a fan of his or know nothing about his life and work, you can appreciate this book if you truly love music.
Bill can certainly write-- he counters heavy material with his signature brand of arrogant, sardonic humor, and often pokes
When I bought this book, I was expecting it to be an amusing but forgettable account of Bill's Bruford's life. What I was not expecting was a brilliantly-written book not only about his life, but about the music industry and the nature of music itself. Whether you're a fan of his or know nothing about his life and work, you can appreciate this book if you truly love music.
Bill can certainly write-- he counters heavy material with his signature brand of arrogant, sardonic humor, and often pokes fun at anything or anyone he can (including himself).
While I rarely revisit books of this sort, I have often found myself going back and hunting for the plentiful nuggets of humor and wisdom within. It's one of the few books in my collection whose words will stay with me long after it has been shelved away.
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Thoroughly enjoyable, though probably only for music enthusiasts. Bruford tells his story more or less chronologically, in chapters titled as questions he's been asked over the years: "What do you do during the day?", "What do you really do?", and so on. A bit over half the book, perhaps, is Bruford's story. The remainder, interspersed with his recollections, are musings on the nature of music: music history, music philosophy, the difference between the music business and the music industry. Sur
Thoroughly enjoyable, though probably only for music enthusiasts. Bruford tells his story more or less chronologically, in chapters titled as questions he's been asked over the years: "What do you do during the day?", "What do you really do?", and so on. A bit over half the book, perhaps, is Bruford's story. The remainder, interspersed with his recollections, are musings on the nature of music: music history, music philosophy, the difference between the music business and the music industry. Surprisingly, these bits are even footnoted.
Unlike many rock autobiographies, this one appears to have an author who has both some skill at writing and some thoughts about the bigger picture of music. Bruford also has taken the time to examine other sources and uses these as support for his points or as springboards for considering topics he has encountered. It might have been nice to have more discussion of specific music, however, since it is rare to find such an articulate voice with first-hand experience.
Harvinaisen rehellinen ja raavas näkemys muusikon urasta tämä Bill Brufordin elämänkerta. Erinomaisen virkistävää vaihtelua niiden ainaisten hehkutuskirjojen jälkeen. Bruford avaa verhoa myös rock-muusikoiden tabuista: todellisesta suhteesta rahaan, perheenisän syyllisyydestä, aviomiehenä olemisen vaikeudesta, soittotaitojen riittämättömyydesta. Erittäin virkistävää luettavaa! Jokaisen, joka haluaa rokkistarbaksi tulisi ehdottomasti lukea tämä opus.
As a huge King Crimson fan, specially regarding the rhythmic section, Bruford became one of my personal idols.
This book, so well written, is a masterpiece for drummers and non-drummers. It shows what music is really about and, in case you are a musician, it leaves a legacy of unprecedented knowledge for a future musical development.
I couldn't decide whether to rate this 2 or 3 stars. Ultimately, I guess I enjoyed it, but I was hoping for more nitty gritty chatter about drums and rhythm and such. The book reads more like a late-night conversation with a friend where you meander from topic to topic. Probably only for super fans.
As a King Crimson and Yes fan I was obviously going to like this. The views of the inner workings of these bands are fascinating. However I'll remember the book more for the insights into the life of a professional musician. It is an honest account that isn't trying too hard to please anyone.
As a drummer, I was excited to read this but I think Mr. Bruford gives a much larger perspective into what it is to be a musician, and deeper still, the very nature of music & it's relationship to the listener. Can't recommend this book enough to my musician and non musician friends alike.
Enjoyed it but struggled at times with BB's slightly preachy style and found that he came across as rather smug at times. This is just my view and I was clearly interested enough to finish the book so that says something, I suppose.
Interesting look into Bruford's life as a drummer. Very well written. If you expect to learn about drumming you'll be disappointed, but it gives you an behind the scenes look at the music industry from his perspective.