Bill Bruford: the autobiography : Yes, King Crimson, Earthworks, and more
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Jawbone Press
2009
|
| Ausgabe: | 1. ed. |
| Schriftenreihe: | A genuine Jawbone journal
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references (p. 348-349) and index |
| Beschreibung: | 352 p. Ill. 22 cm |
Internformat
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Datensatz im Suchindex
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| adam_text | Contents
BILL
BRUF0RĐ
THE AUTOBIOGRAPHY
YES, KffíG
CRIMSON, EARTHWORKS,
ШШ
MORE
A GENUINE JAWBONE JOURNAL
First edition
2009
Published in the UK and the USA by
Jawbone Press
2a Union Court,
20-22
Union Road,
London SW4 6JP,
England
www.jawbonepress.com
ISBN:
978-1-906002-23-7
Volume copyright
© 2009
Outline Press Ltd.
Text copyright
© 2009
Bill Bruford.
Ali
rights
reserved. No part of this book may be reproduced in
any form without written permission, except by a
reviewer who wishes to quote brief passages in
connection with a review. For more information you
must contact the publisher.
EDITOR: Tony Bacon
DESIGN: Paul Cooper Design
Origination and print by Colorprlnt (Hong Kong)
09 1011 1213 54321
PICTURE SECTION
INTRODUCTION
1.
1.
SO HOW DID YOU GET STARTED?
early road transport
-
Yes s particular arrangements
-
a gig In Holland
-
the ritual of practice
-
family
background and adolescence
-
the nature of rhythm
-
historical attitudes toward being a musician
2.
WHY DID YOU LEAVE YES? a
Yes: promising beginnings fade
-
musicians and the
public
-
edging around jazz and success
-
role of
instrumentalists
-
US vs. European scenes
-
financial
lessons
-
managers
-
Close To The Edge and departure
3.
WHO MANAGED THE MANAGER?
moving to King Crimson
-
EG Management and
operational tactics
-
departure of Jamie
Muir
-
music industry and operational tactics
-
making Red
-
a wedding party
4.
HOW DO YOU GET THAT FANTASTIC
SOUND?
equipment as a liability:
1968
Rome;
1991
New York;
2004
Moscow
-
electronic drums
-
music technology
and the division of aural, notated, and recorded music
5.
WHY WOULD YOU WANT TO FORM
YOUR OWN GROUP?
elected from King Crimson
-
adrift and doing sessions
-
Dave Stewart, Phil Collins
-
Genesis
-
forming
a band
-
Jeff Berlin, Allan Holdsworth
-
solo albums
6.
DO YOU STILL LIKE
106
PROGRESSIVE ROCK?
talent, art, craft: the role of the artist
-
UK (group)
-
progressive rock:
an overview with hindsight
-
the
Gesamtkunstwerk
-
critical reaction
-
ABWH and
Yes Union
7.
DO YOU LIKE DOING INTERVIEWS?
126
.lirtim.-il in
Шмі
8.
WHAT S IT LIKE WORKING WITH
144
ROBERT FRIPP?
Robert Fripp and King Crimson: intellect, humour
-
Discipline and influence
-
Tony Levin,
Al Di Meóla
-
Adrian Belew and manager six-
1984:
out on the
street again
9.
WHAT DO YOU MEAN, YOUR
162
SPIRITUAL HOME WITH A BED OF NAILS ?
coffee shops
-
Thrak and a double trio
-
Crim in the
90s:
Our Leader unhappy
-
abortive Nashville rehearsals
-
the
Big Beat is over
-
jazz: a way of life
-
business integrity
-
strategies for survival
10.
IS IT DIFFERENT, BEING IN JAZZ?
182
jazz: small, mobile, intelligent
-
Earthworks
1
-
Django Bates, lain Ballamy
-
Earthworks
2:
Sound Of
Surprise
-
performing in difficult circumstances
-
relationships on the road
-
disparity of income among
popular musicians
11.
IS IT DIFFICULT, WITH A FAMILY?
200
musical fantasy as guilty pleasure
-
public and private,
domestic and professional
-
staying in touch
-
attitudes to partners: Yes, King Crimson, Gong,
Genesis
-
artistic life exacts a toll
12.
DO YOU SOMETIMES PLAY WITH
216
OTHER PEOPLE?
jazz festivals
-
Neil Peart, Burning For Buddy- music as
a force: effect on hearts and minds
-
music now
ubiquitous, disconnected from place
-
musical taste and
personal identity
13.
DO YOU STILL SEE ANY OF THE
230
OLD GUYS?
Ralph Towner, Eddie Gomez: If Summer Had Its Ghosts
-
customer demands
-
excess baggage
-
Japan: biuford
Levin Upper Extremities (B.L.U.E.)
-
Chris
Botti. Gwilym
Simcock
-
obligation of the artist
-
success
and popularity
14.
YES, BUT WHAT DO YOU DO IN
251
THE DAYTIME?
musicians occupational culture -the bilingual
soundcheck
-
music as fragmented, unstable object
-
technological intention, technique, content, meaning
-
it s more than just the music
15.
WHAT DO YOU CALL A GUY WHO
266
HANGS AROUND WITH MUSICIANS?
sleep and a nightmare
-
rehearsal rooms as delivery
rooms
-
valuing music
-
classical, folk, popular
-
serious/mind/high-culture, fun/body/low-culture
-
criticism of Afro-American music
-
marginalising
the ¡azz player
16.
DO YOU JUST PLAY ANYTHING
279
YOU LIKE?
what music does for us
-
manufacturers and working
musicians
-
magazine polls
-
drum festivals
-
Roy Haynes
-
carrots and sticks
-
what drummers do
-
a relationship sours
17.
YES, BUT WHAT DO YOU REALLY
00? 297
Earthworks Underground Orchestra
-
implications of
digital storage
-
computer music vs. performance
music
-
the programmer and control
-
the future:
optimist or pessimist?
-
the real payback
18.
ARE YOU MAKING THIS UP?
313
progress slows: self-doubt and the baggage effect
-
relevance, irrelevance, and vanity publishing
-
performer s block
-
improvisation as conversation
-
Michiel
Borstlap
-
a pleasure like no other
19.
LETTING GO
331
conservative music business
-
musicians, fame,
celebrity
-
hits no longer pay for misses
-
think locally,
act globally
-
a rock extremist
-
Summerfold and
Wintertold Records
-
shedding a skin
-
private
reflections on the public character
-
the finishing
tape in site
Endnotes
Acknowledgements
|
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