BILL BRUFORD AUTOBIOGRAPHY PDF

“I would urge anyone coming to this book from knowing Bill’s music to trust “Bill Bruford -The Autobiography” continues to go from strength to. “Bill Bruford -The Autobiography” continues to go from strength to strength. A second edition of the paperback has just been published by Foruli. of Bill Bruford and Bill Bruford’s Earthworks, Summerfold and Winterfold Records. Bill’s Summerfold and Winterfold record catalogues are in transition to a new.

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Bill Bruford: The Autobiography

Bill Bruford – The Autobiography: Paperbackpages. Autobiogdaphy see what your friends thought of this book, please sign up. To ask other readers questions about Bill Bruford – The Autobiographyplease sign up. Does this edition contain any extra material compared to the edition? See 1 question about Bill Bruford – The Nruford.

Lists with This Book. Jun 23, Dan’l Danehy-oakes rated it really liked it. This is, quite possibly, the best autobio I have read by a popular musician. Like FZ’s book, Bruford’s focusses less on the bruforv of his life and recordings and more on the things that interest and occupy him: Bruford meanders back and brugord along a vaguely-chronological path from his first public appearance at 14 to his retirement from public p This is, quite possibly, the best autobio Bruforf have read by a popular musician.

Bruford meanders back and forth along a vaguely-chronological path from his first public appearance at 14 to his retirement from public performance at 59, with stops at Yes and King Crimson, Genesis and Earthworks, a path autobiographyy led from solo practice to rock to progressive rock vill electric rock to jazz – with, again, meanders back and forth between them as when the not-quite-newly-minted jazz drummer returned to play with the “double-trio” version of King Crimson in the mid-’90s.

He comments a little on the personalities he’s worked with, but this is no dish-o-rama; his colleagues are treated, each and all, with respect. Perhaps the closest thing to a snark in the book is this comment on guitarist Robert Fripp: Even if you have no interest in Bruford’s music, either in rock or in jazz, this is a fascinating read. May 12, Joe Richards rated it really liked it. As has been well documented, this is less an autobiography than a study of what it takes and means to be a professional musician.

It’s a fascinating insight into the industry, in which Bruford examines the mechanics of business and the nature of the relationships between performer, co-performer, audience, producer, manager and of course family. Bruford speaks candidly about these relationships, and his clinical honesty reflects the scientific nature of his mind. He writes with well-deserved conf As has been well documented, this is less an autobiography than a study of what it takes and means to be a professional musician.

He writes with well-deserved confidence in his percussive achievements but also a growing sense of self-doubt and humility. Occasionally a sense of bitterness blll through, whether in relation to a particular ill-fated tour or performance, or the conduct of another musician, but autobiorgaphy reaction belies the seriousness with which he approaches his profession.

It becomes clear that drumming is bbill that to Bruford – a profession. Fans of Yes, King Crimson et al will certainly find frequent mention to his time spent in these bands, but keen drummers hoping for an insight into his playing may find it lacking.

Overall, it is simply a remarkably well-written study of what it takes to live the life of Bill Bruford, and it appears to aautobiography a lot.

Mar 28, Mike O’Brien rated it really liked it. Bruford’s autobiography is much more than the story of his life, it’s a laying bear of his philosophy of music as well as a fascinating account of the changing face of the music business. Well worth a read, especially if you are a musician. Jun 03, Derek Hale rated it really liked it. I SO wanted to give this book by drummer Bill Bruford five stars.

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The main problem is a couple of dead weight chapters at the beginning and a bit of a draggy ending. That said, this is probably the best rock musician autobiography I have read and sets a sort of gold-standard for that sub- sub- sub-genre. The book starts off in a scatter-shot manner as Bruford opines on topics near and dear to his heart: Everything is infused with Bruford’s rapier British wit and more than a few British spelling anomalies I lost track of how many times the word “tire” autobiovraphy spelled “tyre.

It is clear that there is absolutely no love lost between King Crimson’s spiritual leader and Bruford. Bruford pulls no autobioggraphy concerning his time in Crimson, describing Fripp as ” These chapters work well and Bruford’s insights about deliberately choosing to play a “less popular” style of music are fascinating. Still later Bruford includes valuable insights about the struggles of the traveling musician, opines on why the portability of music might not be a brufrd thing, and lets loose with some seriously great insight into the homogenized pop music culture of the 21st Century.

As I mentioned, there are a couple of extraneous chapters near the end but the final chapter called “Letting Go” is poignant and provides a fitting end to a nice book. Jan 26, Mark rated it it was amazing Shelves: As close to a “5” as I expect to read in music autobiographies, anyway.

Bruford’s writing is witty, studious, worldly, and introspective. He has great stories out of school, since he played drums with Yes, King Crimson, UK, Genesis, and others, but his mature career and true love has been jazz, to which he autobiohraphy dedicated most of his energy for the past 20 years. The main subject of this book maybe more than himself is the music business and culture, and I haven’t read a more comprehensive insid Brugord close to a “5” as I expect to read in music autobiographies, anyway.

The main subject of this book maybe more than himself is the music business and culture, and I haven’t read a more comprehensive insider analysis of its foibles, follies, and passions. Bruford has organized the book not as a chronicle of his life but as his in-depth answers to a series of interview questions.

That is, each chapter has as its title a typical question of the kind Bruford got asked throughout his career and he always did good interviews: Much of the book is polemical and defensive, not surprisingly: The bulk of the book defends art over commerce “this pop entertainment lark is all very well, but we musicians, we muddy foot soldiers — and there are plenty like me — thirst to generate a music worthy of serious consideration” and the final chapters defend his decision to retire from live performance, which he did last year.

Kind of like Bruford’s music and his philosophy about it: Apr 24, Squishyent rated it it was amazing Shelves: This book is an autobiography of an interesting man, but he intersperses his own story with comments about musicianship, the definition of success, and balancing your life between your family and a very demanding career. I found the latter to be the best parts: May 03, Eric Bittner rated it really liked it. If you’re expecting the usual rock star “let me tell you how great I am” biography, you’ll be happily disappointed.

Instead, it’s a remarkably honest look inside the world of the professional musician. Sep 25, Lukasz Pruski rated it really liked it. The Autobiography is an outstanding work by the famous drummer, a legend in the rock and jazz music community, and the “godfather of progressive drumming. Bruford, from his work in the famed progressive rock bands Yes and ” Popularity is a crime from the moment it is sought; it is only a virtue where men have it whether they will or no.

Bruford, from his work in the famed progressive rock bands Yes and King Crimson, through electronic jazz, to acoustic jazz drumming. As far as I can ascertain this is not a ghost-written work: By far the best aspect of the autobiography deserves capitalization: The reader will not learn who slept with whom, who took which drugs, or who fired whom from the band.

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Bill Bruford – The Autobiography: Yes, King Crimson, Earthworks and More

These kind of issues belong in tabloid magazines and luckily there is virtually nothing of that kind here, with the exception of some gentle fun made of Robert Fripp, the famed leader of King Crimson. This is a really serious book, one that deals with serious issues in a mature way. Another good feature of the autobiography is that it is not chronological but instead arranged around selected topics from theory, business, and sociology of music, which of course helps the author focus on the serious aspects of his career.

He repeatedly “circles in time” and returns to his periods of playing with Yes, King Crimson, Genesis, Bruford, and Earthworks. Some of the topics studied by the author are: Still, luckily we have no sensationalism here.

brufodd Let me just focus on two of my hot-button issues. The first one is about “music as art” versus music as a commodity. Bruford nicely says that artists create music “to soothe their soul,” and he chides the alternative – the focus-group-based, business view of music whose goal is to study “what the market wants and provide it.

Bill Bruford – Wikipedia

The other issue dear to my heart is the dramatic shortening of the attention span for modern listeners. Through TV advertising we hear slices of Beatles songs, Bach cantatas, jazz and blues pastiche, and – here is the point – all of it incomplete “. The “incomplete listening” goes hand in hand with the more and more common “multitasking,” autobiograpy means that instead of doing one thing well, we do two or more things poorly. There is a number of cool and catchy phrases in the autobiography, such as “Music begins where language leaves off” and several funny quotes, such as “The [progress in] technology has benefits anyone can make a record which immediately leads to drawbacks everyone does make autobiogrqphy record.

But no, let’s leave five stars autobiographt absolute masterpieces.

Four and a quarter stars. Jun 15, Caeser Pink rated it really liked it. The only thing I knew about Bruford was that I liked his drumming. Especially on the 80s King Crimson material. I soon realized he is also a very good writer and an in-depth thinker.

The book is full of insights into the life of a brufford and the music business. There are enough rock and roll stories about familiar characters from Yes, King Crimson, and Genesis to keep it entertaining. But also lots of personal philosophy and musical and sociologic analysis. Jun 07, Gary Hill rated it really liked it. I have reviewed this in more detail at Music Street Journal, but suffice it to say I found it quite an entertaining and informative read.

Aug 04, Otto Lehto rated it really liked it. Bill Bruford, I have to admit, has fascinated me ever since I got into progressive rock. This guy played in King Crimson! As it turns out, Bill is an outspoken and well-mannered English gentleman with a lot to say about music, life on the road and the changing seasons of pop, rock and jazz music.

Even as someone who fosters no love, just indifference and lack of exposure, to his pet project, the jazz group Earthworks, which takes a very prominent role in the book t Autobiogdaphy Bruford, I have to admit, has fascinated me ever since I got into progressive rock.

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