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.WebsiteWilliam Scott Bruford (born 17 May 1949) is an English retired drummer, percussionist, songwriter, producer, and record label owner who first gained prominence as the original drummer of the rock band, from 1968 to 1972 and again from 1990 to 1992. After his departure from Yes, Bruford spent the rest of the 1970s playing in, touring with and, and eventually forming his own group,.In the 1980s, Bruford returned to King Crimson for three years, collaborated with several artists including, and, and formed his jazz band in 1986. He then played in, which eventually led to his second stint in Yes. Bruford played in King Crimson for his third and final tenure between 1994 and 1997, after which he continued with Earthworks and further collaborations.On 1 January 2009, Bruford retired from public performance, barring one private gig in 2011.

He released his autobiography, and continues to speak and write about music. He operates his record labels, Summerfold and Winterfold Records. In 2016, after four-and-a-half years of study, Bruford earned a in Music at the.

He was inducted into the as a member of Yes in 2017. Contents.Early life and education Bruford was born on 17 May 1949 in, the third child of Betty and John Bruford, a local veterinary surgeon. He has a brother, John, and a sister, Jane.

He attended boarding school at. Bruford decided to take up drumming at thirteen after watching American jazz drummers on the jazz television series, and practised the instrument in the attic of his house. He cites, and as his favourite and the most influential drummers as a youngster. Around this time, Bruford's sister bought him a pair of drum brushes as a birthday present, and Bruford would practise using them on album sleeves after he was told the sound resembled a while watching Jazz 625.

Bruford recalled it as 'a perfect education'. Though he was given a single snare drum at first, Bruford gradually built a full drum kit. He later took a few lessons from Lou Pocock, a member of the.During his time at boarding school, Bruford befriended several fellow jazz fans, one of them a drummer who gave Bruford lessons in improvisation and a tutorial book by American jazz drummer. They then performed as a four-piece named The Breed, a rhythm and blues and soul band that Bruford played with from 1966 to 1967 until he was unable to attend all their gigs, leaving the band to hire a second drummer. The Breed were formed by Stu Murray on guitar, Ray Bennett on bass, Mike Freeman on sax, Doug Kennard on guitar and vocals and Bill Bruford on drums.

After he left boarding school, Bruford took a before he intended to start an economics course at in September 1968. He auditioned for a place in on 16 January 1968 at a pub in. After he was unsuccessful in being able to join the band, Bruford 'hung around until the end and told them they had the wrong guy. I talked my way into it'. His tenure lasted three gigs as he messed with the beat, and joined Paper Blitz Tissue, a psychedelic rock band, for a short time. Bruford then spotted an advertisement in a music shop from The Noise, who were looking for a drummer to play with them for a six-week residency at the Piper Club in, Italy.

He remembered the experience as 'ghastly', felt his bandmates could not play properly, and had to hitchhike back to London with his kit. Ray Bennett the bass player with The Breed, would later play with Flash, a band formed by Peter Banks after he left Yes.Career 1968–1975: Yes and King Crimson Following his return to London, the nineteen-year-old Bruford settled into a flat in north London and placed an advertisement for drum work in the. It was spotted by singer of, a London-based band that also consisted of bassist and guitarist Clive Bayley, who sought a replacement for their departing drummer, Bob Hagger. The four first met on 7 June 1968; Anderson was so impressed with Bruford, he invited Bruford to play with the band that evening at the Rachel McMillan College in.

Their entire set consisted of ' by as it was the only song they all knew how to play through, but Bruford was impressed with the band's ability to sing in harmony. Following the gig, Bruford had several offers to join soul bands, one of which earned as much as £30 a week, but chose to form a new, full-time group with Anderson and Squire. The four entered rehearsals, which ended in replacing Bayley on guitar, and they changed their name to with new recruit, keyboardist.Bruford played on Yes's first five studio albums during his initial tenure: (1969), (1970), (1971), (1971), and (1972). His first attempt at composition was 'Five Per Cent for Nothing', recorded for Fragile. His main interest was allowing the drums to 'be heard' as Squire tuned his bass high, and so developed a style that involved unusual 'beat placement' and time signatures. He developed his musical understanding during this time: 'I learned how to read the horizontal lines, but not the vertical notes.'

Bruford recalled Yes being hot blooded and argumentative, with personality conflicts being the eventual reason for his exit. These, for him, included problems in understanding other members' accents, differences in social backgrounds, and many other issues that set the band in a constant state of friction between Anderson, Squire, and himself.In July 1972, after Close to the Edge had been recorded, Bruford quit to join. Rehearsals began in September 1972, followed by an extensive UK tour. His instinct to remember complicated drum parts was shown when he learned how to play the long percussion and guitar part in the middle of ', 'by listening to it and just learning it.'

Bruford cites the six months that percussionist was in the group as highly influential on him as a player. He is featured on (1973), (1974) and (1974) before disbanded King Crimson in September 1974. He is featured on their live album, (1975).1974–1980: Genesis, Bruford, and U.K. After leaving King Crimson, Bruford felt his 'sense of direction was rather stymied' and was unsure on his next step. In late 1974, he became a temporary member of the French-Anglo band for a European tour after drummer was busted for drugs at a border. Bruford then chose to wait for an appealing offer while earning money as a session musician.

Earthworks Underground Orchestra Raritan Nj

The sessions were few, however, and the ones that he was a part of he called 'unmitigated disasters'. In 1975, Bruford played drums on by, by, and At the Sound of a Bell. He joined for several live performances, but declined an offer to join full-time as there were already many writers in the group, and felt his contributions to the music, the majority of which was already written, would have caused problems.By 1976, Bruford had rehearsed with Ray Gomez and in the US but plans to form a group failed, partly due to the members living far away from each other. He wished not to force a band together, so he decided to 'watch, wait, observe and absorb'. From March to July 1976, Bruford toured with as their live drummer on their of North America and Europe, supporting. It was their first album and tour after original frontman had left, leaving drummer to sing lead vocals. Bruford had known Collins for several years and performed with Collins' side project, during which he suggested sitting in the drum seat while Collins sang on stage until they found a permanent replacement.

Bruford is included on the concert film recorded during the tour, and the live albums and.In 1977, Bruford formed his own band named. Members of the band were initially (keyboards), (bass), (guitar) and Bruford (drums). The first album (1978, recorded as a solo project) also had on vocals, on flugelhorn and on rhythm guitar.

After recording Feels Good to Me, Bruford reunited with and formed the progressive rock group. After their debut album (1978) and several tours, Holdsworth and Bruford left the group due to disagreements.Bruford resumed activity in his own group to release (1979). Almost entirely instrumental, the album contains some spoken lines by Bruford during the introduction to 'Fainting in Coils'. Subsequent gigs spawned the live releases and (1979). Their final album, (1980), features backing vocals from Canterbury scene stalwarts and Amanda Parsons, as well as on cello.

Unfinished songs for a projected fourth album were recorded in 1980, but remained unreleased until 2017.1981–1993: King Crimson, Earthworks, ABWH, and Yes In 1981, Bruford returned to King Crimson in a new formation with Fripp,. The four recorded (1981), (1982), and (1984), all featuring Bruford on acoustic and electronic drums, allowing him to play programmed tuned pitches and sound effects which expanded his capabilities as a result. In 1984, Fripp disbanded the group.In 1983, Bruford formed a duo with Swiss keyboardist and former Yes member after he learned that Moraz was living close to him in Surrey. The project had Bruford develop a 'real taste for improvising'.

Under the name Moraz/Bruford, the two released (1983) and (1985), two albums recorded on acoustic instruments. The albums were supported with several live shows, including a tour of Japan.In 1986, Bruford formed his jazz group with, and (later replaced by ), with initial assistance from. By then, drum technology had improved to Bruford's satisfaction and he resumed using the instrument, specifically the electronic drum kit. The band toured the US club circuit through 1987.Bruford temporarily put Earthworks on hold in 1988 after invited him to form with other former Yes members and (although he'd initially been under the impression that he'd be playing on an Anderson solo album). Bruford was attracted to the idea of recording on (as well as the opportunity to better finance Earthworks via the larger fees he'd command as an in-demand rock musician), and convinced Anderson to hire Tony Levin on bass for the project.

Was released in 1989 and the group toured the album worldwide. In 1990, ABWH and Yes merged to become an eight-member formation of Yes which saw the release of (1991), mixing tracks by Yes and those that ABWH had recorded for a proposed second album. Most of the band were openly critical of the album; Bruford said: 'The worst record I've ever been on'. He took part in the subsequent Union Tour, and though he enjoyed the enthusiastic audiences in large venues and performing with former band mates, he found the experience 'pretty horrible'.In 1990, Bruford was inducted into the Hall of Fame. He left Yes in the same year, although he and Steve Howe would later undertake a recording project together in 1992/1993 to have an orchestra reinterpret some of Yes' works.

The resulting album, titled, was released on RCA records in 1993.In January 1991, Bruford reconvened Earthworks: the group would continue in its current form until 1993, recording one further studio album and a live album before the departure of Django Bates and the subsequent fissioning of the whole band.1994–2009: King Crimson, Earthworks II, and retirement. Bruford at the in Germany, 2004King Crimson re-emerged once more in 1994 as a six-piece band, consisting of its 1980s line-up along with on and sharing the drumming duties with Bruford.

Earthworks Underground Orchestra Raritan

Dubbed the 'double trio' configuration, between 1994 and 1996 they released the (1994), the full-length studio album (1995), and two live albums, (1995) and (1996).Rehearsals to create new King Crimson material followed, as well as a week of performance with the sub-group in 1997, after which Bruford left the band and its iterations for good. His reason for abandoning King Crimson was his frustration with rehearsals, which he felt weren't going anywhere.In 1997, Bruford moved focus from rock to acoustic jazz, partly due to the fact that he could go no further with electronic drums. In 1997 he put together an entirely new line-up of, this time with pianist Steve Hamilton, saxophonist Patrick Clahar, and double bass player Geoff Gascoyne (the latter soon replaced by Mark Hodgson). Although Earthworks would undergo further lineup changes (with replacing Clahar as saxophonist in 2001, replacing Hamilton as pianist in 2004, and Laurence Cottle replacing Hodgson on bass circa 2005), the revived band would maintain a consistent, predominantly acoustic post-bop approach focussing on Bruford's compositions. During 2005, Earthworks would temporarily combine with Garland's Underground Orchestra project to form the Earthworks Underground Orchestra. Earthworks finally disbanded in 2008.While Earthworks remained Bruford's primary focus, he also sought other collaborations in the final twelve years of his career. These included a collaboration with Americans and in 1997, the jazz-rock band (1998), a duo with Dutch pianist (2002-2007), the contemporary composer Colin Riley with the collective (2009), and in presenting drum clinics.In 2003, Bruford established two record labels.

Winterfold Records covers his earlier releases including his guitar and rock-oriented music. The other, Summerfold Records, focuses on his jazz output, mostly from post-1987.Bruford retired from public performance on 1 January 2009 (except for one low-key performance with Ann Bailey's Soul House in 2011). He retired from studio recording at the same time, although his final studio work, was not released until later that year.

His autobiography was released in early 2009. In 2016, after four years of study, Bruford earned a in Music at the. Membership timeline. Legacy Many artists have cited Bruford as an influence, including,.

In addition, other artists have been quoted expressing admiration for his work including, and.The character 'Bruford' from the popular manga/anime series was a direct homage to Bill as series creator is a huge fan of his work in Yes. Araki even used Yes's ' as the series end credit's theme.

Abortive projects Bruford has been involved in a number of abortive projects, including a trio with Rick Wakeman and which made the headlines of in October 1976; Bruford has also told of 'an abortive and late rehearsal/audition with bass player out at his mansion in, once, but nothing came of that.' He was also approached in 1985 by ex- guitarist to be the drummer for his new band with, along with bass player. 'We rehearsed briefly, but I think decided we were mutually unsuited.!' Awards In 1990, the readers of voted him into that magazine's Hall of Fame.In 2017, he was inducted into the as a member of Yes.Other Works. Uncharted: Creativity and the Expert Drummer (University of Michigan Press, 2018, )Discography.

Retrieved 8 October 2011. Rock & Roll Hall of Fame. Retrieved 20 December 2016., p. 25., p. 26. ^, p. 35.

Underground

^, p. 36. ^ Mike Brannon (March 2001). Archived from on 5 April 2001. Retrieved 5 April 2015. ^, p. 21. ^, p. 37.

^, p. 22. ^, p. 23. ^ Etheridge, David (June 2009). From the original on 15 July 2011. Retrieved 3 November 2018. ^ Kaye, Robert (5 December 2004).

Archived from on 13 December 2004. Retrieved 3 November 2018. ^ Dowling, Peter (May 1976). Beat Instrumental: 6–7. Retrieved 29 November 2016.

Snider,Charles (2007). The Strawberry Bricks Guide to Progressive Rock (1st ed.). Chicago: Strawberry Bricks.

181. ^ Welch, Chris (10 April 1976). Melody Maker. Retrieved 3 November 2018 – via Rock's Backpages. Archived from on 18 February 2005.

^ Salewicz, Chris (1 May 1976). New Musical Express. Retrieved 3 November 2018 – via Rock's Backpages. ^ Lambert, Pam (5 August 1987). Wall Street Journal. Retrieved 3 November 2018.

Prasad, Anil (1992). Retrieved 30 October 2016. Lambert, Pam (5 August 1987). Wall Street Journal. Retrieved 30 October 2016. ^ Negrin, Dave (23 March 2005).

World of Genesis. Retrieved 3 November 2018. Retrieved 10 August 2015. Official Bill Bruford Website. 26 January 2009. Archived from on 30 January 2009. Retrieved 8 October 2011.

Retrieved 15 July 2014. Retrieved 18 August 2016. Oriel, Jane (21 November 2006).

Retrieved 5 March 2017. Q: Which drummers have been an inspiration to you?Danny Carey: In the prog world, Bill Bruford (King Crimson, Yes, Bruford). He was always really free thinking about electronic drums and things like that and I always appreciated that a lot, especially at one point when all of a sudden it became so uncool to use electronic drums, but I just thought, 'Ah, man, everyone should do what pleases themselves'. So yes, he was a big influence in that way. Retrieved 9 March 2017. San Jose, California. 28 November 2012.

From the original on 17 October 2015. Retrieved 19 May 2017. An interesting aspect of Cameron is that his drumming is deeply influenced by the fusion drummers of the seventies, especially Bill Bruford. Many Cameron fans may not be aware of these influences. However, Cameron’s command of groove and space demonstrates these roots. As Cameron says, “Listening to a lot of Bruford prepared me supremely to play in Soundgarden.” Cameron emphasized that (Bruford’s) placement of fives and sevens as critical to writing the drum parts for the new record. Kearns, Kevin (12 May 2004).

Retrieved 5 March 2017. Q: You must have a big list of drummer influences.Brann Dailor:.

for prog, definitely Phil Collins and Bill Bruford. Peiken, Matt (September 1993).

Modern Drummer. Berkeley, California. Archived from (PDF) on 7 March 2017. Retrieved 7 March 2017.

Adolfo sa marina pdf files

22 September 2006. Archived from on 26 July 2015. Retrieved 12 March 2017.

Q: Who are some of your biggest influences?Gene Hoglan:. Bill Bruford was a big 'un, with the 80's version of King Crimson. Haid, Mike (25 March 2007). Modern Drummer. Retrieved 9 March 2017.

The self-taught Harris has always taken a minimalist approach to the more complex odd-meter material–until now. “Danny Carey turned me onto the drumming of Bill Bruford,” explains Harris. “Once I started checking out what Bruford was doing, and how he was constantly creating new musical ideas on the drums and exploring unique drumset configurations, it inspired me to open up my playing and explore different drumming concepts for our new music.”. thodoris (November 2011).

Earthworks Underground Orchestra Raritan Valley

Www.hit-channel.com (published 12 April 2012). Archived from on 31 December 2014. Retrieved 5 March 2017.

From the original on 6 December 2017. Retrieved 9 December 2017. Bidwell, Stephen (October 2013). Austin, Texas. From the original on 5 December 2017. Retrieved 9 December 2017. Worley, Gail (7 February 2009).

Ink19.com (published 10 April 2009). Retrieved 16 March 2017. Q: Which players have most influenced that aspect of your style, especially with respect to the polyrhythms?Chris Pennie:. I would have to say Bill Bruford from King Crimson and Yes. (29 July 2016).

Retrieved 19 April 2017. Retrieved 13 March 2017. Blabbermouth (30 May 2018). Retrieved 3 January 2019.

Benidt, Doug (11 February 2013). Retrieved 9 March 2017.

thodoris (November 2011). Www.hit-channel.com (published 12 April 2012). Archived from on 30 January 2016. Retrieved 5 March 2017. Bill is a great drummer and probably a very intelligent guy.

He wrote a fantastic book where he’s saying many intelligent things about the music business and other musicians. Haid, Mike (14 October 2014). Modern Drummer. Retrieved 14 March 2017.

16 February 2016. Retrieved 12 March 2017. Q: You also have quite the admiration for Bill BrufordAdrian Younge: Oh yeah, dude he is just amazing. King Crimson and anything else he was a part of was quality work.

His work on the drums was so sick dude. I love his approach because he doesn’t do too much, but the little things that he does are very syncopated and interesting. That dude just creates unique compositional soundscapes. Official Bill Bruford Website.

17 April 2007. Archived from on 8 October 2007. Official Bill Bruford Website. Archived from on 28 May 2002.Sources. Bruford, Bill (2009).

Bill Bruford: The Autobiography. Yes, King Crimson, Earthworks and More. Jawbone Press.

Earthworks underground orchestra raritan valley

Hedges, Dan (1982). Yes: An Authorized Biography. Sidgwick & Jackson. Welch, Chris (2008). Close to the Edge – The Story of Yes. Omnibus Press.

The Breed:External links Wikimedia Commons has media related to. Official website at. NAMM Oral History Library (2011).