Tag: Patrick Moraz

Review – Bill Bruford – The Best of Bill Bruford – The Winterfold & Summerfold Years – by John Wenlock-Smith

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.

Released 18th October, 2024.

Order from Cherry Red Records here:

https://www.cherryred.co.uk/bill-bruford-the-best-of-bill-bruford-the-winterfold-summerfold-years-3cd-box-set

Review – Rick Wakeman – Yessonata – by John Wenlock-Smith

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 Rhyme Concerto 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.

Released 8th November, 2024

Order from Cherry Red Records here:

https://www.cherryred.co.uk/rick-wakeman-yessonata-cd-edition

Interview With Bill Bruford – John Wenlock-Smith

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 Darryl Stuermer, 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.

Pete Roth Trio tour: Dates and Tickets: https://www.peterothband.co.uk/

Bill Bruford YouTube Channel https://www.youtube.com/@BillBruford

Bill Bruford website www.billbruford.com

Interview With Steve Howe by John Wenlock-Smith

In this piece I talk to Steve Howe about about both the forthcoming Yes UK live dates, why they are not playing ‘Relayer’ this time around and about the ‘Asia in Asia’ box set that is due out in June.

John Wenlock-Smith – Good afternoon Steve, are you keeping well?

Steve Howe – Yes I am, thank you.

JWS – You are in Devon today then?

SH – Yes, in a secret location! I moved here some 26 years ago from London and, whilst I still live in London, I visit as much as I can as my studio is here.

JWS – Fair enough. I have spent many happy times in Devon. It is a lovely area.

SH – Yes, well I certainly like the slower pace as opposed to the madness of London!

JWS – So the tour that you are doing in June, how come you are not going to do the ‘Relayer’ album, as originally announced and intended?

SH – Well, with it being a shorter run of dates, as we cancelled the European leg, it’s now just the ten shows in the UK. We felt that it was better to postpone that particular album, especially as ‘Close To The Edge’ is 50 years old this year, and perform that in its entirety instead. We will also do a few other favourite songs and some of ‘The Quest’ album, although I’m not saying which we will play, keep it under wraps as it were. 

So that is the plan now, and save ‘Relayer’ till next year when we can give it the treatment that it deserves, so we chose to concentrate on playing CTTE this time around, to give it a good airing and celebrate the anniversary in this manner.

JWS – Yes, because you have had Patrick Moraz along for some shows doing ‘Gates of Delirium’ ?

SH – We had Patrick play Soon with us on a tour that Tony Kaye had joined us for, the celebratory tours. We like doing that sort of thing, although we have no plans on that as yet, not that to say that that it’s out of the window but, at the moment, we are concentrating on getting back out on the road after three years enforced time away.

Also, that is why coming back after 3 years away, we are doing what we are comfortable with and can do to the standard that is required and that Yes fans warrant and demand.

JWS – Yes, I can understand that way of thinking, plus it leaves the way open for a further tour with ‘Relayer’ being featured.

SH – Exactly…

JWS – I am glad that tracks from ‘The Quest’ will be featured, as I really enjoyed that album. I thought The Ice Bridge was exceptionally fine, reminiscent of Fanfare For The Common Man in the keyboard sounds, and also your solo Album ‘Love Is’, with Jon Davison on vocals.

SH – Thank you.

JWS – Well I thought it was a good set of songs, well performed.

SH – Yes, Jon did a wonderful job on that, didn’t he?

JWS – I also really enjoyed the ‘Homebrew 7’ album.

SH – Thank you, that was quite different for me in that it did not have the usual Homebrew story but was mostly unreleased tracks and ideas that I was able to work to fruition and completion. It was a retro album of music that was unreleased so thank you again for appreciating that.

JWS – I enjoy listening to latest music, especially music that you have released, so what are the chances of having your two original Atlantic albums (‘Beginnings’ and ‘The Steve Howe Album’) being re-released again?

SH – Warner’s, Rhino, Atlantic or whoever have been so nice to me, they are officially releasing those albums, so I will investigate that. I think it’s marvellous to be part of the story of Ahmet Ertegun (Atlantic label founder).

Howe Sound, the label that releases many of my albums, is quite diverse really and I feel comfortable with what they release for me, plus I like to do things differently and not be stuck in a treadmill way of things.

JWS – I do not blame you, variety is the spice of life, or so they say.

SH – Indeed.

JWS – Now Asia, that new Boxset (‘Asia in Asia’) that is coming out in June (10th) is very impressive…

SH – BMG have released the Reunion albums, with Fantasia releasing the DVD but this one is even nicer. That is, I especially like the diligence, I like detail anyway and this set really has an elevated level of detail to it, making it worthy of attention. When we did those shows some forty odd years ago, Greg (Lake) was really inspiring in that he was singing John’s (Wetton) parts, playing his bass lines too and doing it all with dignity and aplomb.

The Asia story is all told within those sets really, the two original albums, ‘Go’ and ‘Asia In Asia’ and then the years where Geoff was holding the banner, keeping the flame alive as it were, with various people drifting in and out including myself. Then there’s the reunion and subsequent albums and tours, it’s all in those albums and the ‘Asia In Asia’ especially shows a period where Greg really rose to the occasion magnificently as the set testifies in such a great way.

JWS – The only criticism I have, and it is a minor one really, is that, in the booklet, it mentions a documentary filmed around that time in which each member traces their Asia journey and, although mentioned, I cant see it on the Blu-Ray?

SH – Well, I thought it was there, but I will investigate that and see. Although Blu-Rays are notorious for not being easy to find things on, I know that from experience, so I will check into that for sure.

JWS – I agree that Greg did an outstanding job. This is borne out in the remixed audio on the CD’s where he sings, albeit in a lower register on some tracks, but in a very accomplished manner and his bass playing is equally as inspiring too.

SH – When I heard the audio for the mix, it was good until we got to the last two tracks, Heat Of The Moment and Sole Survivor, where they sounded awful. So I took it up with the label and they said Steve’s really on the ball, those two tracks hadn’t been remixed. I insisted that they were brought up to the same standard and I’m glad to say that they did just that and now they sound fantastic.  

JWS – Good, I am very much looking forward to seeing you in Manchester on the tour.

SH – Good, well I love the Bridgewater hall, I played a solo concert there several years ago and thoroughly enjoyed the experience. It reminded me of those early shows where I learnt my craft, like the one when I played support to Delaney and Bonnie along with Eric Clapton and George Harrison etc, remarkable times and music.

JWS – Have you heard Geoff’s Downes Braide Association stuff at all?

SH – Yes, I have heard that it is an exciting outlet for his music.

JWS – Plus Roger Dean participates in the artwork for that.

SH – Yes, well Roger is a big part of the Yes story, he will be on the tour too.

JWS – Well Steve, my time has gone, so may I just thank you for your time today and I will hopefully see you in Manchester next month.

SH – Thank for talking to me and for your interest in my music and of Yes too, thank you John.

Order the Asia boxset here:

Asia – Live At The Budokan, Tokyo, 1983 [VINYL] (lnk.to)