I’ve had ‘Disparity’ for a while now and have only just begun to fully appreciate its subtle elegance and beauty. Andy Foster and Kite Parade have created a very modern progressive rock album of strong songs and observations of modern life.
The album begins with the track Fraternal Angels, which is very upbeat, starting out with synth soundscapes and piano before the vocals kick in with a surging drive. The song is very wide open in sound and is an excellent opener to all that is to follow afterwards. The mid section of the track is very interesting as it details the state of the world and it’s inequalities, 20% of the world having 80% of its wealth and resources. The brief Open Your Heart calls for a fair redistribution of the world’s food supplies and wealth and to be fairer to everyone. Is This All There Is ? features Christina Booth of Magenta who challenges us to do and to be more as there is more to life than what we see and experienceT he delivery of this great song is excellent. The World Is Mine is from the view of one who is in the top tier of wealth and is still not satisfied with everything,
Lynsey Ward of Exploring Birdsong is the vocalist for Broken, which has a delicate piano and some great synth sounds among its shuffling melody. The introduction of Andy Foster’s excellent saxophone solo really adds to the dynamics along with some great slide type guitar sounds towards the end. There are great dynamics between the rhythm section of Jimmy Pellagrosi (drums) and Marcin Palider (bass) with Andy laying down a great guitar line on top. This segues into Forgotten Youth, which has a chunky riff and sound to it. This is another up-tempo song with very interesting lyrics. Also worth mentioning is the terrific sound that the album possesses and that comes courtesy of Rob Aubrey, the sound being excellent and clear with great dynamics. It sounds really good to these ears, modern with a great drive and urgency when required. I also like how the songs flow into each other, creating a continuous sound cycle which captures the attention. The song has an excellent outro that is very impressive and imaginative. The use of textures and colouring make this song very grand sounding and my favourite thus far on what is a very majestic album.
Is There Hope? is a prelude to the epic Make It Beautiful which begins with thunderous bass from Marcin which sets a strident tone for the song. The track has a great refrain that is very memorable indeed. This is a great piece of music, very hopeful and optimistic in nature, which is no bad thing! It is a plea to restore beauty to an increasingly ugly world. Yes, it might be a bit hippyish and unrealistic but one can hope that beautiful actions can happen and bring the beauty back for everyone to appreciate. All this leads into the final track, Listen To The Angels, another optimistic and hopeful song. Andy Foster might be a dreamer but he wants a better world and hopes that it will happen and, in these troubled times in which we currently live, surely that’s not a bad way to be. I for one applaud his efforts and share his hopes for a fairer future.
‘Disparity’ is a really strong album with much to commend and has some brilliant performances. It bodes very well for the future of Kite Parade, let’s us hope that it’s not too long before we see them in action once again, as they are at the vanguard of a growing wave of melodic and worthy progressive rock music.
I highly recommend this tremendous album to you all. As for me, I am going back to check out their earlier albums, ‘The Way Home’ and ‘Retro’ as they passed me by, so the time is right for me to get acquainted with them.
This is a 3 CD box set containing 35 tracks of Bill Bruford’s original music made for his own Winterfold (for his more electric driven music) and Summerfold (for his more acoustic and more improvised ideas) labels. This set is an expanded version of a set originally released in 2006 and long out of print and has been totally redesigned and reimagined for today with new artwork and sleeve notes and offering a concise overview of Bill’s career since 1977.
Unlike his earlier set, ‘Making A Song & Dance’ of 2022, this set only focuses on his own material, so nothing from Yes, U.K. or King Crimson. I feel this actually helps you recognise just how excellent Bill’s work over the past 40 years has been. The fact that Bill “retired” from music in 2009 to focus on more academic pursuits makes this collection all the more relevant now, with a semi return to activities with the Pete Roth Trio with whom he is currently active.
This collection covers those 42 years from his Bruford days through his collaborations with Patrick Moraz and Michiel Borstlap and covers 18 albums from which this set has been entirely re-designed by Bruford’s long-standing associate designer- photographer Dave McKean and overseen personally by Bill himself. The range of styles encompassed is significant from the more fusion driven sound of Bruford the band, the improvisation of Moraz and Bruford and Borstlap and Bruford to the free form jazz expression of the various incarnations of Earthworks. The list of contributors is lengthy and varied but, above it all, is the precise timekeeping of Bill Bruford holding everything together in a well ordered fashion.
Beginning with Bruford, the band Bill started after leaving U.K. in 1977, we get 4 tracks from ‘Feels Good To Me’, two apiece from ‘One Of A Kind’ and ‘Gradually Going Tornado’ and just one from ‘The Bruford Tapes’. For me, this particular period of Bill’s musical journey is one I was aware of but had not actually heard for myself. Obviously a situation I now need to rectify ASAP, as are the albums made with Patrick Moraz, which also warrant further investigation.
So it is really the Earthworks era that this review will concentrate upon, an era that is all instrumental jazz, mainly propelled by Bill on acoustic rather than electric drums, although it did introduce the concept of chordal drums (A hybrid of half keyboard and half drums) which afforded Bill a new dimension in which to explore new rhythmic possibilities and sensibilities, which he does to stunning effect on both Pilgrim’s Way and Stromboli Kicks, which both feature this style of playing. Bill’s playing uses a random collage of micro percussion taken from 82 samples of little blocks, bells, finger samples and others all played live in the context of the track. This is certainly unusual and somehow sounds intriguing and very impressive. The sound is most definitely unusual but an effective marriage of both chordal and electronic drums.
We then have a couple of tracks from the David Torn produced ‘All Heaven Breaks Loose’, which features the processed sound of Iain Bellamy’s tenor horn. This was Earthworks really throwing away any rulebook and improvising freely and to fine effect. Again we hear Bill’s masterful stewardship and timekeeping even with free improvisation. Both Temple Of The Winds and Candles Still Flicker In Romania’s Dark benefit from this freedom. Nerve from ‘Stamping Ground’ follows and here we find Earthworks in full on improvisation mode again to fine effect. This is exciting and unrestrained stuff, albeit tempered with the tight controls of Bill’s timekeeping and vision. This is followed by the simply gorgeous acoustic beauty of two tracks from ‘If Summer Had It’s Ghosts’ in the form of the title track and Thistledown, both very gentle, quietly melodious and beautiful, another one to search out for myself I feel. The disc ends with 2 tracks from ‘Apart And Yet Again’ which saw the introduction of Earthworks mark II, which was more acoustically propelled with a new cast of musicians to push Bill’s envelope, as it were.
CD3 continues the Earthworks journey, apart from a few tracks from the collaboration with Dutch keyboardist Michiel Borstlap, in which the duo play completely spontaneously without any prearrangements. This makes for some very interesting music in which both musicians really listen to each other and respond accordingly. It is very exciting stuff as you hear their interactions play out, this would fool most people as there is no road map for where the music goes, it is all brilliantly intuitive. A sole track from ‘A Coat Of Many Colours’ sees Bill in connection with fellow drummer Chad Wackerman and Luis Conte on congas, focusing on the pitch of the various drums in a unique sounding track. The remaining tracks show Earthworks mostly in live performances from various different concerts
Above all this set accentuates the sheer brilliance and dedication to his craft that marks Bill Bruford to be a doctor of rhythm and rightfully so too as his work on these discs encompasses a huge array of both styles and settings. This is not always a straightforward listen as you need to get into the groove and begin to appreciate the subtleties on offer within these tracks but it is definitely worth it as there is very much to enjoy and appreciate herein.
The Cyan release, ‘The Guardians’, comprises a mere three tracks, namely The Guardians Of Your Destiny, a 26 minute epic that has been resurrected from Cyan’s reimagining of the original 1994 album, reworked and extended from its original 12 minute run time with new parts and solo’s from all and sundry, All Around The World, that was used as the Progaid single in 2005 and there’s also an instrumental entitled Cyan. Both the first two tracks were on the original album ‘Pictures From The Other Side’, however, due to excessive running length and so as not to distract from what they had already worked on and re-recorded, they were left off.
The whole EP lasts for approximately 38 minutes in all and, whilst not a full album, it certainly is a hefty slice of Cyan music to savour and enjoy. Once again, the band comprises of Robert Reed on keyboards, Dan Nelson on bass, Peter Jones on vocals and various wind instruments and the guitar work comes from Luke Machin who never fails to impress with his fleet fingered flights of delight. They are also joined by the angelic voice of Angharad Brinn, whose ethereal vocals are highly impressive sounding and work well in tandem with Peter Jones.
The EP starts with the epic The Guardians Of Your Destiny. This begins with Angharad’s voice soaring over a wash of keyboard sounds and some muted percussion before Luke Machin lets fly with a soaring guitar line which is then superseded by Rob’s organ sounds. Luke takes over once again before Peter Jones sings the opening verse. As an opening section this is pretty epic with lots happening and it all sounds wonderful too. This leads to delicate short acoustic guitar section before Rob allows his keyboards free rein in an explosive set of runs. There is then a part with dual vocals from Peter and Angharad that shows the beauty of their two voices. A brief but soaring guitar solo from Luke intercedes before we return to more duo vocals and acoustic guitar interludes, along with a glorious synth solo from Rob and guitar break from Luke.
Rob’s organ sounds return before Angharad sings the refrain We Are The Mighty Ones that occurs at several points during the song, acting as a way marker in moving the song along and holding the sections together as one complete piece. The sounds are very Genesis like in tone and I feel it gives a point of reference in Rob’s musical development and plays as a tribute to the mastery of Tony Banks. The song draws towards it conclusion with another Luke Machin solo and more keyboard solo’s from Rob. Mention must also be made of the stellar Bass work from Dan Nelson who is there at every turn adding depth and Solidity. The track ends in a triumphant burst of impassioned vocals from Peter Jones before a return to the chorus of We Are The Mighty Ones and a final guitar fill from Luke.
All Around The World is a pretty straightforward listen that has more epic guitar from Luke Machin, who never fails to impress with his fluid playing. I’ve known Luke for over 15 years and have seen his confidence and abilities grow over that time and he always plays what is needed at the time. He is one of prog’s most versatile players, as his soon to be released solo album will invariably attest. The song then enters a longer keyboard part to finish. This excellent EP finishes with he instrumental track Cyan, which is really 2 instrumentals they used to play in the 1980’s that have been fused together with a few new parts added. This gives room for all to take their turn in the spotlight with Luke, Rob and Peter all taking the spotlight, Peter by means of his saxophone, Luke with his guitar and Rob embellishing everything with his sensitive and keen keyboard solos, sounds and textures.
Whilst this may be a shorter EP, it certainly is not without its merits and is a joy to hear these musicians cutting loose as they do in Cyan. ‘The Guardians’ is an excellent addition to the Cyan canon and will fit well alongside ‘Pictures From The Other Side’ to complete the full picture that album represents.
If, like me, you enjoy symphonic prog, then you will find much to enjoy in this shorter album from Norway’s TheWindmill. With definite touches and traces of Wish You Were Here in the long first track Fear, ‘Mindscapes’ has as good an opening segment as I’ve heard on many an album. This release also contains three shorter tracks, all of which show a different facet of the band
The vocalist Erik Borgen has a wonderful, if somewhat unusual voice, it reminds me in places of Roine Stolt of The Flower Kings. Also memorable here is the saxophone of Morton L. Clason which adds something of great depth to all the keyboards and clout of the rest of the band. Fear has a great soundscape and some dynamic passages, along with a great organ solo. It’s also, despite being nearly twenty-three minutes in length, a very endearing track with lots happening during its duration. In fact, the more I’ve heard it the better it gets for me, as it reveals deeper, hidden complexities which, when all taken together, forms a most impressive piece. The song is in three distinct sections, Fear, Back Against The Wall and Amnesia, the middle section has a great urgency and wonderful interplay between the flute and the rest of the band, it also benefits from a strong chorus and refrain.
I really like this track, it has grown on me considerably as I have become more familiar with it. A good guitar break helps move the track along before an extended keyboard solo is introduced to the proceedings. Thereafter a flute solo plays as the songs moves into its second section and this is a well orchestrated part with good keyboards and more flute stylings, all of which add to the overall feel and impression the track is seeking to create. And create it well it does too, as this song really does make a favourable impression and impact.
Calton Hill is a tribute to the band’s good friend Brian McNeil who was based in, or certainly very well acquainted with, the city of Edinburgh. The song is about walking around the city and the delights of Calton Hill which offers a good view of the city and is adorned with monuments and is a very pleasant area to explore. I know, I did it over 30 years ago and long to revisit once again. The shorter and more delicate sounding I Still Care seems to be about a loved one who is not around any more but, even so, he still cares about her. It’s a wistful rather than cloying song, it is very tender and heartfelt though. The final track Nothing In Return is a bit of a different beast though, as it has a heavier sound with a degree of crunching guitar, almost like Grunge Prog! The presence of the flute is clearly heard and felt and this actually really works with this song because the contrast with the guitar is distinct and the flute brings a degree of lightness to proceedings. A wild synth solo is played with increasing urgency and power which makes an definite impact. The track then heads out in a romping/rollicking section, all synths and guitar riffs in tandem and unison. The impressively solid bass of Arnfinn Isaksen is felt here and his weight adds much to the dynamics at play here. This song may be brief but it is certainly powerful and impactful.
‘Mindscapes’ may be relatively short for an album of this genre but it is definitely a triumphant one for The Windmill, coming six years after their ‘Tribus’ release of 2018 and shows this fine Norwegian outfit have much to offer still. I heartily recommend this for its versatile musicianship and its complex layers and soundscapes, it’s a very enjoyable listen indeed.
Rick Wakeman will, I’m sure, be known to many of you as he was the keyboard player during the golden era of Yes in the 1970’s, where his talents added significant input to the albums ‘Fragile’, ‘Close To The Edge’ and ‘Tales From Topographic Oceans’ before leaving the group and rejoining for ‘Going For The One’ and ‘Tormato’ after Patrick Moraz had left the band, in part due to the “enormous psychological pressures within the group”.
‘Yessonata’ is the much requested Yes highlights segment of his two shows at the London Palladium in 2023, where he performed his early solo albums in full on the first night. The second evening was a set of classic Yes material along with a performance of ‘Journey To The Centre Of The Earth’. `In among all this was a newly composed ‘Yes Suite’ in three parts, The Meeting, Wondrous Stories and South Side Of The Sky. Also included were versions of Roundabout,And You And I and Starship Trooper /Wurm. This was very warmly received, so much so that fans started to ask where they could get this, other than the 4CD live album where it was included on disc 3. This showed Rick that there was a demand for a recording of that to be made available so, in 2024, Rick set about pulling the three parts together, adding a few more bits and creating his own Yes Sonata, hence the album title.
This new release was a bit too short so Rick also produced a piano variation of the ‘The Myths and Legends of King Arthur…’ album and is entitled The King Arthur Piano Suite. This album, whilst short, is excellently conceived, produced and delivered by Rick using a sole Steinway Model D Concert Grand Piano.
The music is truly sensational but the real fun is in recognising which pieces Rick is playing from which albums. The press release cites ‘more than 30 musical fragments’ but I don’t know the Yes back catalogue that well to recognise them all. Google search would give more insights but for me just hearing Rick perform this piece of work at his age is remarkable, as he still has great dexterity and ability. I grew up as a teenager being introduced to Rick’s music through my brother’s friend who had ‘The Six Wives of Henry VIII’ album and my brother’s copy of ‘Yessongs’, which included Rick’s brilliant solo parts. I was totally mesmerised by his skills, this was further enhanced by a live Rick Wakeman DVD that I acquired in the 2000’s which included his hilarious Nursery RhymeConcerto which is brilliant, extremely funny and superbly delivered. Rick is not only a classically trained pianist but also a fine raconteur with his off kilter sense of humour being well known to all.
A clip of that concerto is here:
In this piece Rick shows his tremendous talents, dismissing it as a simple little thing before then firing off a staggering piano motif or run that repeats throughout the track.
That same skill is on offer on this album of two tracks, ingenuity coupled with complexity and a confident delivery. It’s actually a rather fine collection of piano motifs compiled together to create a concerto that does as it says, it conveys the melodic sensibilities of the Yes canon in one single piano interpretation. It is an easy listen but also offers the listener the challenge of identifying the particular melodies that are so eloquently delivered. The King Arthur Piano Suite is similar in style and concept, again this is impeccably performed and distils the essence of the near 40 minute album to a mere 20 minute piano improvisation whilst still maintaining the feel of the original album.
The cover art from Roger Dean is equally as impressive and conveys the Yes connection through the images. With a sound that is clear and crisp, all in all this is a highly impressive concept and a unique album in which you can appreciate the music of Yes in a unique and possibly simpler manner than the albums.
2024 has been quite a year hasn’t it really? From the vagaries of politics and re-emergence of Donald Trump to again become US President again, the implosion of the Tory party and the triumphant Labour landslide, to the downfall of Assad in Syria, it has all been quite eventful, all in all.
Thankfully, musically it has been a good year, especially for the likes of Taylor Swift, whose ‘Era’ tour was a huge success, the reunion dates for Oasis were another success, especially for it’s promoters, if less so for their fans who struggled to get any reasonably priced tickets. Prog thankfully doesn’t suffer in the same way and great music shows could be easily found for very reasonable prices, except maybe David Gilmour tickets, but Steve Hackett and Big Big Train shows were far more fairly priced, as their sell out statuses clearly showed.
The year has some truly fine and many very worthwhile releases and here is what really hit it off for me. As with previous years, I have a vocal winner and an instrumental winner of the year and you’ll understand why as I reveal them to you all.
There’s also a note about why each was selected as being so very good, invariably i’ll miss something that I should have included, such is often the case as its not always easy to recall timings and release dates etc., There are no live albums or ‘best of’ though, even though several of each were very good releases.
Here we go then..
20. Wedingoth – ‘Five stars (A) live’
A somewhat interesting mix of heavy metal with distinct Pink Floyd overtones, all recorded live and portraying their 2023 five star album.
19. PsychoYogi – ‘Astro Therapy Brain repair’
The 2024 quirky release from Chris Ramsing and band with more King Crimson styled jazz musings.
18. Nataraja – ‘Spirit At Play’
A one off project from Jack Jennings with Andy Edwards and John Jowitt of Frost/IQ mixing Indian classical music with synthesisers and fiery guitar a la John McLaughlin and Jimi Hendrix. A very intense listen but wonderfully conceived and delivered.
17. Infringement – ‘Black Science and White Lies’
More musings on the state of the world from the Norwegian stalwarts, full of dynamic music and strong observational lyrics.
16. Storm Deva – ‘Storm Deva’
Technically released at the back end of 2023 but gained popularity this year. Wonderful orchestral type music with fabulous vocalist/keyboardist Carollyn Eden along with sublime guitar work from Stuart Clark, some beautifully symphonic music and melodies.
15. Rick Wakeman – ‘Yessonata’
A totally solo piano album from the ex-Yes keyboard man which distils over thirty melodies from the prime era of Yes music. Have fun spotting the various melodies employed herein and, as a bonus, there is an instrumental synopsis of Rick’s ‘King Arthur’ piano suite.
14. Catalyst*R – ‘Pace Of Change’
A second album of impressive prog and electronic music from the ex Winter Machine men, check out the utterly epic Pendle Hill 1612.
13. Orion – ‘The Light Bringers’
The superb second full release from musical prodigy Ben Jones with lots of Rush overtones, especially with the spectacular artwork from Hugh Syme .
12. Kite Parade – ‘Disparity’
An album that highlights the challenges of this modern world most eloquently, there is some truly some great music on offer here.
11. The Windmill – ‘Mindscapes’
Latest release from the Norwegian retro-proggers. Just four tracks but such great tracks they are! One wonderfully long epic and the the other three being shorter, but no less impressive, pieces.
10. Age of Distraction – ‘A Game Of Whispers’
This offshoot group saw some of progressive music’s current stars (ex-This Winter Machine member John Cook, Ghost Of The Machine‘s Charlie Bramald and Mark Gatland of Hats Off Gentleman It’s Adequate to name three) band together in a new ad-hoc Project which married their progressive tendencies coupl with a harder edged sound to a fantastic impact. A second album is due in 2025 and possibly some live shows too!
9. Oddleaf – ‘Where Ideal And Denial Collide’
Surprisingly endearing and engrossing 70’s influenced Prog from new French outfit featuring the lovely Carina Taurer and colleagues.
8. Brendan Perkins – ‘Favourite Places’
A fantastic album that would most probably be of interest to Big Big Train ‘Passengers’ as the music is very expansive with very Pastoral overtones at various points. A most engrossing listen.
7. Nick Magnus – ‘A Strange Inheritance’
An excellent nautically themed collection of songs. This one really resonated with me and I really love Nick’s compositions on this album.
6. John Holden – ‘Proximity and Chance’
Another excellent release from the Cheshire based multi instrumentalist who, again, has enlisted some A-list players to support his epic pieces. This was, for several months, my album of the year but was then overshadowed by the following releases.
5. Kyros – ‘Mannequin’
Another top notch release and a fantastic fusion of 80’s style synth-pop and progressive music. An exquisitely produced and delivered album of sheer class.
4. Stuckfish – ‘IV’
This is a major step up from this north-east quintet and is full of great songs, some of which are crying out for more live performances. Sheer class and fine quality to boot.
3. Ruby Dawn – ‘Blood On Water’
The superb second release from Carola Baer and colleagues, who have crafted an album that is partly based on Romeo and Juliet but also contemplates life and all it’s seasons and challenges.
2. Forgotten Gods – ‘Memories’
This album came from nowhere but such is its emotional depth and rawness, along with its honesty and strong lyrics, it really makes a deep and lasting impression.
1st equal…
Instrumental album – Nick Fletcher – ‘A Longing For Home’
A further ten slices of Nick’s incredibly imaginative and polished musical musings with a truly impressive European based set of musicians. An album full of powerful themes and melodies along with jaw dropping skill and improvisation.
Vocal Album – John Wilkinson – ‘Imposter Syndrome’
Highly impressive solo album from The Swan Chorus and Ellesmere vocalist in which, over eight strong tracks, John sings of how he feels a fraud as a singer but goes on to prove that he is no fraud or imposter, rather he is a genuinely talented writer and performer. This album is a remarkable achievement and is a thing of beauty, crowned by John’s warm and evocative vocals.
It has been a vintage year for releases, you’ll notice that I’ve shied away from major label albums, despite there been several great ones but it us these 20 Albums have impacted me the most through 2024.
John talks to legendary prog musician Bill Bruford about his days playing with progressive royalty such as Yes, King Crimson and Genesis and much much more:
John Wenlock-Smith: Over your long and illustrious career you have worked with many of progressive rock’s major artists. Which made the biggest impression?
Bill Bruford: With Yes, at the beginning, I was bright-eyed, bushy tailed, arrogant, famously in love with my own abilities, and didn’t know that I didn’t know shit! It wasn’t until I met Jamie Muir in King Crimson in 1972 that I began with music toddler-steps, when Jamie explained to me, none too patiently, that the music didn’t exist to serve me, I existed to serve the music. Who knew?! By the time I’d been through the Crimson mill for a couple of years, I’d learned to calm down a bit, and even not play if the music didn’t call for it. With Genesis I was a sideman from whom fresh ideas or input was not required, so that was easy. In UK, guitarist Allan Holdsworth had been my suggestion. Brilliant and sensitive as he was, he occupied much of my time just trying to cheer him up and keep him in the band. So I learned from all of these situations. They all made an impression. But I don’t really do superlatives. Life’s too subtle.
JWS: You have played with many excellent bass players. Who was the best, in your view?
BB: There are many musicians of varying capacity making many choices every day. Some come into your orbit for no reason you can think of, and make a good fit, some less so. All musicians have strengths and weaknesses; some more obvious than others.
As an all rounder who can play anything, from classical to metal, Tony Levin takes some beating. He also has a magical way of making you feel he’s making it up on the spot, as much for his pleasure as yours, even though he may have played it a thousand times before. We share a sense of humour. An interviewer once asked him: “What’s the difference between playing with Bill Bruford and Steve Gadd?” Without a pause, came the answer: “One of them shows up on time”.
JWS: Allan Holdsworth was part of both the original U.K. and the Bruford line ups. How was your relationship with him? Was it a positive one?
BB: Allan was a brilliant musician in many ways, but as a person, he was mercurial, changeable and with low self-esteem. He needed a lot of managing, and it wasn’t always possible to make him happy with the group’s performance or his own performance within it, for that matter. But I’ll go to the ends of the earth for someone who could play that blinding solo on ‘In the Dead of Night’.
JWS: Sadly that version of UK only made one album, were there any other recordings that could be released any live shows ? The original UK could do with an expanded version being issued.
BB: Forgive me, but you’ll know more about this than I. My understanding is that Eddie Jobson now appears to control all rights to the original UK album and has issued as many versions of it as possible, doubtless full of outtakes and alternative versions and the like. He sent me a copy of the ‘Ultimate Collectors Edition’ but I haven’t listened to it.
JWS: You made several albums with Patrick Moraz. What recollections do you have of that period, which saw a change in your playing approach?
BB: In a duo, you have a lot of room to manoeuvre of course, but also a lot of responsibility. The drums have the ability to shape the form of an improvised piece as it’s emerging. For example, on Music for Piano and Drums, the tracks ‘Any Suggestions?’, ‘Living Space’ and ‘Hazy’ are completely improvised. On our second album, Flags, the tracks ‘Split Seconds’ and ‘A Way with Words’ are also improvised. The music may sound as if it’s written, and some of the written music may sound improvised, but that’s our business, not for you to worry about. Some people get nervous if the music just appears, without the benefit (or hindrance) of weeks spent in a rehearsal room. They accord it less value.
JWS: Your latest release (‘The Best Of Bill Bruford – The Winterfold & Summerfold Years’) revisits several eras of your career. How and why did you select the tracks for the set?
BB: Well, you’re looking for a balance of the things you do; a balance between styles, between improvisation or composition, between different eras, between electric and acoustic. The Summerfold and Winterfold labels have about 30 titles between them, so clearly I can only offer what I think is a fair representation of what I consider to be some of the better tracks. There’s music from my 70s band ‘Bruford’, from my duo with Patrick Moraz, from both electronic and acoustic editions of Earthworks over 20 years, and a return to duo music with my second improvising partner, the Dutch genius Michiel Borstlap in the noughties. It’s an excellent package for the newcomer who may have heard my name and would like to hear more.
JWS: You retired from performances for several years but I see that you are involved with a new outfit. What was it about this band especially that caused you to choose to return?
BB: It was a gradual process from complete burnout in 2009, when I couldn’t stand the sight of a drumkit, through 13 years or so in academia, to one day – very suddenly – sitting at some drums and feeling exhilarated all over: urgently and violently keen to start all over. I’d sold all my own drums, years earlier, so I had to go and find a new set and start a daily two-hour daily practice routine.
Then I formed a rehearsal band with Guildford guitarist Pete Roth. Pete had worked as my drum tech in Earthworks 20 years previously . I knew he was an accomplished guitarist, but I was astonished how far he’s come by the time we started working on the highly interactive, jazz-adjacent music and writing that we do today. One thing lead to another through 2023; a few gigs, but only in South-East England. We’re gigging all through 2025 principally in the UK, but also Japan and European clubs and Festivals. It’s a privilege to support and mentor a much younger player, and I get to play whatever I want on the tubs.
JWS: You obviously have a good and realistic approach to curating your own legacy of recordings. Are there plans for any further reissues or releases?
BB: “No plans”, as the politicians say. I’ve downgraded myself from professional musician to amateur. Instead of being a recording artist with an international career and all the hassle that goes with that, I’d rather be simply a performer. I have no wish to generate new music under my own name. I’ve been curated to within half an inch of my life.
JWS: I know you are not a part of the latest King Crimson project, BEAT, but have had any involvement in their construction as they cover the second phase of your King Crimson activities.
BB: I’m in touch with Danny and have let it be known that I’m available should he want any advice, but he has the gig under control. Interestingly, Danny was a keen customer acquiring a ton of Bruford percussion at a huge international yard sale I held. Now you can hear some of my instruments on the current BEAT tour. I was asked to do it, but I declined. I’m no longer interested in large-room repetitive rock composed 40 years ago, when I can have small-room, close-up-and-dirty interactive music, invented today, and still see my grandchildren. I’m low-maintenance and free as a bird.
JWS: What recollections do you have from you days in Genesis?
BB: Genesis was the quintessentially family-minded band. In 1976, we were mostly childless young marrieds, and wives or girlfriends were encouraged on the road. Genesis treated touring as an extension of a trip to Harrods. All necessary requirements were laid on, the partners behaved themselves and didn’t interfere unduly.
They were exceptionally considerate to employees, from the high-status sideman such as myself or, later on, drummer Chester Thompson and guitarist DarrylStuermer, down to the lowly third drum roadie from the left. Even girlfriends of sidemen were welcomed into the bosom of this extended family, an unheard-of generosity.
Easy, I hear you say, when you’re a loaded and successful rock band like Genesis with private planes and plenty of manpower to help. But this warmly accommodating, family-friendly attitude had existed from the beginning in that particular band – it was just built into the fabric. King Crimson was bleak, spartan, and unwelcoming to outsiders; Genesis was generous and gently accommodating. I loved playing in King Crimson because I had an emotional and intellectual connection to the music we originated. As a sideman in Genesis, I was only called upon to play some one else’s drum parts, so I was easily bored, and didn’t behave well. I’ve been apologising to them for this ever since!
JWS: Do you have any contact with you old bandmates at all?
BB: Steve Howe, Tony Banks, Tony Levin and Iain Ballamy are accessible and we see each other regularly but not often. I can pick up the phone to all my old colleagues and get a warm reception, which I think speaks to a degree of compassion for the man, not just the musician.
John Wilkinson is the singer in the Genesis tribute group Mama that celebrates the Phil Collins era of that particular band and John has a voice very similar to Phil, as any who have seen Mama can attest. John is also the singer for Liverpool based TheSwan Chorus and their last album ‘Achilles and the Difference Engine’ was my favourite vocal album of 2023. Whilst work on the next Swan Chorus album continues, John has found time, with assistance from fellow Swan Chorus member Colin McKay, to craft an album full of great songs and music that allows the majestic voice that John possesses free reign to weave his own magic.
‘Imposter Syndrome’ is a great album and I was fortunate enough to be given an exclusive preview of an unmixed version of the track Stranded many months ago so I was delighted to acquire the full album in due course. It is a collection of songs that I heartily recommend as it is very memorable and bears repeated listens. In addition, the cover art is excellent with an almost winteresque style. The album contains eight tracks and a bonus acoustic version of Ghost Dancers. So let’s dive in and see what it’s all about, shall we?
T3he album opens with Pulling Threads which wouldn’t have sounded out of place on that wonderful Swan Chorus album, such is it’s strength and catchy chorus. The track is hinged on a strong keyboard motif and guitar line from Colin McKay. Ghost Dancers is a stately track with another fabulously memorable chorus that unaware or misinformed folks would easily mistake for Phil Collins himself, it is astonishingly good, excellent stuff indeed. The flute style keyboards in the mid section are also superb, as is the fluent guitar solo, making it another very good song indeed. On King Of Yesterday the Collins influence is undeniable and, if Mr Collins had done this song, it would have been on radio worldwide. It is another very catchy track with an earworm chorus. This is followed by a truly heart-warming song called I’ll be There, which would be a great song for a wedding or for anyone who needs a little support, as it is all about being there in times of need or difficulties. This is a very warm and positive track and I really like it’s sentiments. I know John means every word of the song as he has a family situation that requires his constant support. It is a humble tender song with great words, I like it a lot.
The Sci-fi inspired track Exodus deals with how we are destroying our world and the need to escape and make a fresh start elsewhere, acting as a wake up call to rectify things whilst we still have chance. It has another upbeat keyboard part and strong guitar melodies at play, this is also the longest track of the album with great keyboard parts. There is a lot going on lyrically and the song has suitably strong vocally, the mid section is good too with its chiming keyboards and descending sounds. You can definitely get the TheSwan Chorus style that this track offers, it is another very strong piece of music indeed. The Big Conspiracy has a strong beat and some powerful drum patterns. It is a song is about conspiracy theories and their prevalence today and how some people believe all sorts of lies and half truths that are offered these days. Title track Imposter Syndrome deals with John’s feelings of self worth and how he feels a fraud at what he does. It’s a pity as he certainly is no imposter to these ears! Okay, he sings in a tribute band but his own unique work with TheSwan Chorus and Ellsmere surely bear testimony to talent, they certainly do to me anyway. The album concludes with Stranded, a song with a strong nautical feel in both the sounds and it’s lyrics. This wouldn’t have been out of place on NickMagnus’ ‘Strange Inheritance’ album from earlier this year, it’s an excellent story telling song, an epic track with strong melodies and instrumentation. I really like this song as its one I heard many months ago and it still impresses now.
Not only will ‘Imposter Syndrome’ appeal to fans of The Swan Chorus but also to anyone who likes great songwriting with fantastic melodies and fine vocals, it is a very strong album of great songs and performances by John and Colin.
Well this one came completely out of the left field, as it were, proving itself to be a most worthwhile release. What a treasure it is too, a remarkably assured and intelligently written album of insightful songs that hold great meaning too. ‘Memories’ is, above all, an emotionally laden release that has significant memories for vocalist Mark Cunningham as these songs unveil their tales. It really is a very warm album when you consider the trauma Mark has experienced in his lifetime, making it not bitter but full of fondness and love even.
The album begins with Alive which is pretty much a testament to Neal Peart of Rush with whom Mark feels a connection through their shared love of motorcycles and the open road. This track is a commentary on a trip Mark made to Italy through Switzerland and the alpine pass at Monte San Giorgio that leads over the mountains on into Milan, Italy. According to the pictures I found on the Internet, it looks to be a very beautiful area and a challenging Ride, albeit one with impressive scenery and views. You can feel the acceleration and the wind in your hair almost as you hurtle along, it’s a great opening track. The epic The Pillars of Petra concerns itself with the actions of certain world leaders after World War Two where they divided up the Ottoman empire and in so doing created the state of Israel, misplaced Palestine completely and set in motion an effect that continues to this day of a middle east crisis. Unsurprisingly, all in the search for profits for their own nations and desires. The song has some wonderful Arabesque sounds in its backing, Mark showing strong sympathy with the people of Palestine and their ongoing struggles for recognition and right to a homeland. This is a very impressive track indeed and has a lot going on both vocally and in the assured music that it being played by Mark’s fellow band members. Keyboard player and producer Dave Boland, guitarist Steve Harris, bass player Michael Kentish and drummer David Hallett all deserve special mention for the magic their individual contributions add to the whole album and the overall positive impact of this fine release.
It has some gorgeous piano lines and some very sympathetic free flowing basslines in support. The subtle drums and percussion accompany this mood beautifully and it is a joy to hear such fabulously imaginative music as this which helps escalate this album greatly into a thing of real beauty. I think it is fair to say that this is a pretty outstanding track all told however, the best is yet to come with an extended instrumental section preceded by a news bulletin that is an exercise in propaganda to justify the actions. The music takes on both an urgency along with a harder tone and the return of an earlier guitar motif from Steve Harris that really delights the ears before it becomes more stately in tone. It is a simply mesmerising track, truly excellent and an epic in every sense of the word.
Everybody’s Hero is Mark’s tribute to his Neal Peart who died of brain cancer aged 67. Peart was a big influence on Mark and, after his death, Mark established the annual festival Prog For Peart which donates its proceeds to charity in remembering Neal Peart. The song celebrates Neal’s life and successes and also comments on how he overcame his own personal tragedies (Neal’s wife and twenty three year old daughter died within 6 months of each other). Neal semi retired to rebuild his life and went travelling extensively by motorcycle through Canada and North and South America in the process, where he found his peace and got remarried again before returning to make further music with Rush. It is a very heartfelt song and one that expresses his admiration without being cloying in any way, it even uses some Rush type sounds in the guitar and bass motifs. Vigil is a glorious and heartfelt tribute to Mark’s mother who died whilst he was a teenager and he has a storehouse of great memories of her and her kindness and consideration to others, especially the downtrodden and neglected in society. Such was her impact on Mark’s young life that he became a youth and social worker in the north east for a while which inspired the song Alone. But back to Vigil which opens with Peter Jones playing the whistle incorporating an improvisation of Amazing Grace, which adds to the beauty of the track immensely as does the opening guitar motif leading into a very emotional vocal from Mark as he watches his mother die while knowing that her presence remains within his heart and her impact on his life is clear. This song is not morbid, it is more a celebration of who she was to him and is full of deep love and sentiments. Mark himself admits that he lost himself for a few years before coming to his senses again. Grief will do that to you if you let it, thankfully Mark came back a different man and a better man at that.
Alone is, as briefly mentioned, about an experience Mark had as a youth worker where he encountered a teenage girl who felt that at 16 years of age, she had little future ahead of her and so opted for a life of lesser choices even to the stage of contemplating becoming pregnant as a means of escape from home to her own council property. The song is very sad in the sense of opportunities lost and unspent chances. Rose & Pink is the album’s final track and opens with a chugging Hammond organ and strong guitar flourishes from Steve. This is a very upbeat and positive song with a uptempo backbeat, not quite disco but definitely in Scissor Sisters territory!
So there you have it, ‘Memories’ is fifty five minutes of unexpected brilliance from Mark Cunningham and his highly impressive fellow musicians in Forgotten Gods and a debut album that stands proudly amongst this year’s finest releases. It is truly fabulous, you really need to hear this fantastic album soon!
Neal Morse is something of a workaholic it would seem, A man with fingers in many pies as it were. Alternatively he could be called a man who dabbles in many interests, ‘No Hill For A Climber’ is definitely a little different, let me clarify that a little for you.
Neal has had to overhaul his band with the return of Mike Portnoy to Dream Theater in 2023, which effectively ended their long association through Transatlantic, Flying Colors and The Neal Morse Band. Neal decided to totally review his band and has chosen to work with a more local set of musicians, all of whom Neal knew through his own activities in the Nashville area. Many of them were with his church, City On A Hill, and his Morsefest shows but, whilst the members may have changed, the themes remain. Maybe not quite the same but still prevalent, if not so much to the forefront. This is possibly a good decision as his music’s often overt Christian message can be an obstacle to some folks. Personally it’s not a problem for me, however I’m fully aware that other folks do not appreciate it in the same way.
This album has a mere five tracks. Oaky, two are of epic length but the other three show a different side to Neal and are also very worthy, so let’s dig in and explore…
The album starts with the twenty minute plus brilliance of Eternity In Your Eyes. The track has an almost symphonic opening section with lots of layered keyboards amidst percussion embellishments before it kicks off properly. A chugging rhythm part kicks in, again with lots of keyboards and some guitar lines playing in unison before breaking down into a funky keyboard section with a glorious sounding organ. The vocals kick in about three minutes and, as an opening statement of intent, this is highly effective and very impressive. The sound is not wildly different to his earlier albums but it is a bit fresher as he is using a much younger set of musicians this time around. However, a lot of the elements and sounds will be familiar to those who know Neal’s previous work. What is different though is that Neal is sharing a lot of the vocals with Johnny Bisaha, who sings most of the upper register parts which gives a distinctively different flavour to the material, almost taking it in a Yes type direction at times but still maintaining the symphonic progressive style. The track is formed of seven different sections one of which, Part IV, is an instrumental piece. Very good it is too! The track is inspired in part from a line in a book by Barbara Kingsolver entitled Demon Copperhead, which is a retelling of Dickens’s David Copperfield, set in Appalachia and one that explores contemporary issues.
Thief is all together different in that it is shorter and has a much looser structure with elements of ‘Discipline’ era King Crimson influencing the music at times. The song also employs brass sounds effectively which, with the lumbering sound, has a great impact. I love the looseness of the sound, it has strong dynamics and is both funky and loose at the same time. The guitar works is very effective as well, kudos to Chris Riley who plays this so well. It’s all captivating stuff and a strong statement of intent. All The Rage again features some great guitar lines, the song is about the emptiness of fame and how hollow that can be. Neal finds his own answer in his faith and offers that this may be the solution that many are seeking but avoid by taking different choices and directions, usually to their own detriment to. Ever Interceding is about being in the middle of a situation and seeking God’s help by interceding. It is a difficult concept for many to understand possibly, but still a great set of lyrics, even if they may be a little to oblique for some.
The final, and longest, piece is the album’s title track, No Hill For A Climber. Lasting just shy of twenty nine minutes in length, this one has more than a touch of the overblown brilliance and melodramatic edge of Transatlantic stamped all over it, guitarist Chris Riley channel his own inner Roine Stolt at times. The song has vocals from both Morse and Bisaha, with the latter covering the higher register parts once more and most effectively too. It’s great to hear how Neal has embraced this next chapter of his career. The song again has multiple parts to it, five in all, and is about overcoming adversity in life and how the acceptance of faith can help with this. The track is suitably triumphant at times, all wrapped in fantastic symphonic prog rock melodies and soundscapes. It also has eastern sounding melodies and textures in the third section, Burn It Down, which is about the fight for control of the ego, again this impresses greatly. The whole song is a very satisfying journey into triumph. Okay, it is very faith focused by why shouldn’t it be? Neal makes no secret of his own faith and how he has been impacted and changed for the better by it and he shares that clearly in this epic song which has enough twists and turns and excellent musicianship to give it full on prog credentials!
This beautifully crafted album opens a new chapter for Neal, although as to where it leads him to next is very much a blank canvas. One thing is certain though, it will definitely be interesting and rooted in his own progressive history. ‘No Hill For A Climber’ is another excellent addition to Neal’s musical canon and I cannot recommend it highly enough.
