BILL BRUFORD – A DRUMMER OUT OF TIME: THE AUTOBIOGRAPHY

by Jeff Boule in Editorials, Honoring Lives, Industry News, Literary / Publication Reviews, Musician Reviews, New Releases, News, Opinion Posts, Reviews

The Bill Bruford Autobiography, definitive reading for progressive music fans, jazz fans, music practitioners from the novice to the professional, this book is the 21st century musician's survival guide. (Photo permission courtesy of Bill Bruford)

A few posts ago, I wrote about Bill Bruford, announcing his retirement from public performance as of the first of this year.  I was angry, I was hurt, I felt abandoned, and most of all I was disappointed that one of the primary warriors of mundane music had laid down his small wooden swords for the last time.  I could not understand why the world’s greatest drummer would hang it up while he was still undeniably a force in the industry, the industry he labels as “the industry of human happiness”.

Sometimes you need a good autobiography to make things clear, to garner the inside perspective.  But be warned, and I was taken aback by what I encountered, the ending of this book is not what you would expect from a player of Bruford’s qualifications.

Without giving too much away, I will attempt to offer forth an overview of the book and reference some of the more humorous passages.  For the musician demographic, if any of you have read “How To Run Your Own Rock And Roll Band”, what was considered the survival manual for the gigging musician in the 1970’s has become quickly outmoded.  Not merely due to the fact that the passage of time renders most things obsolete at some point, but also, Bruford takes the opportunity to give the reader an in-depth, no make-up, scars and all observation as to how the major record labels are (or are not) performing.

My usual motis operandi is to go through a release title by title.  By reason, if I were to do something comparable here, I would be going through chapter by chapter.  I think this is overkill in this literary case.  I cannot state this enough, my job with this review is to send you in search of this most important publication and make sure you read it for yourself.

I was made aware of the book through Bruford’s website.  As these sort of publications are not only rare, but also necessary to someone on the progressive rock watch, I felt it my duty to purchase, the “expanded” version (one with a customized autograph).  Often times I am asked (sometimes under oath) where I get my source material for this blog.  As a musician, some of it is life experience, some from music magazines, as a writer, some from the artist websites, even on the rare occasion, the mouth of the artist.  Publications such as this yield invaluable information if your commitment to the listening goes beyond mere toe-tapping and singing along.

Bruford in the midst of performing with Patrick Moraz circa 1986/7. (Photo by Coming Age)

My commitment level to music is astronomical in terms that I prefer to know about the musician personally, professionally, spiritually if the artist displays a propensity for spiritual lyrics (for example).  It gives me a better understanding of where the artist is in terms of where their head is and how I can get my head there as well.

This practice can be hazardous to one’s health.  Especially if the artist attains his “head space” by utilizing mind-altering substances in excess.

Bruford never ventured into such territory.  Being raised in a modest English household, drugs were not on his radar (although readily available in the late 60’s) his mindset was more along the lines marital and parental responsibilities.

To make sure you are all aware, yes, you have heard Bill Bruford play.  He was a founding member of Yes, “Roundabout” was Bruford.  His most notable endeavor in the 70’s, 80’s and 90′s was as drummer for King Crimson.

From the book: “No one, inside or out, seemed to care too much about record sales.  Warner Brothers tried their best with videos of our songs ‘Heartbeat’ and ‘Sleepless’ in the mid 80s, but it was never going to work.  Whenever radio people saw a record with the name King Crimson on it, they dismissed it out of hand as unsuitable.  Seeing themselves as guardians of the public, ever protectors of the people, they saw it as their sworn duty to ensure that listeners never got to hear the dangerously imaginative racket that might spill from their speakers.”

Then after King Crimson disbanded, re-banded and then disbanded again a couple of times, Bruford then migrated towards his true calling, that of jazz.  After forming Earthworks, the first edition featured Bruford integrating electronic drums into a jazz context, Bruford reformed Earthworks as a fully acoustic jazz ensemble, expanding the band to nine members for the final performance in New York City (and what turned out to be Bruford’s final live performance).

But some of the tales of the road are both funny and cautionary.  I mentioned the book “How To Run You Own Rock And Roll Band”, as a youngster growing up in bands, when I found that publication, it had great impact on how I did business as a performing musician.  Well now it’s official.  That publication is now obsolete.  For all you up-and-coming musicians, THIS BOOK IS NOW THE OFFICIAL HOW-TO BOOK FOR RUNNING YOUR BAND.  From dealing with managers, press people, booking agents, this autobiography presents a modern view on the corrupt, inept and vanishing record industry.  Gone are the days of record company advances for lavish recording suites in major cities across the globe.  As Bruford points out, more likely you will find someone in their bedroom recording into a computer as opposed to an expensive multitrack machine.  An educated musician will spend this money from their advance and buy personally owned recording equipment to record the album (see my review regarding Todd Rundgren’s Arena album, he claims to have recorded vocals in his linen closet).

Naturally, the backstage and behind the scenes glimpses into Robert Fripp’s King Crimson are worth the price of the book alone.  Not to mention those same glimpses into Genesis, Yes and others.  An entire chapter is devoted to detailing his experiences with the enigmatic Fripp.  Of the potential six members of King Crimson’s 1990’s edition, Fripp is mentioned the most.  Fripp is the founder and owner of King Crimson’s moniker.  But one of the more humorous anecdotes is the comparison between Fripp and Belew’s interaction with Bruford’s children.

More from the book: “The complexities involved in maintaining a solid relationship inevitably increase tenfold with the arrival of dependent children.  I’m increasingly of the opinion that there are but two types of adult on the planet: those with children and those without.  The distinction between male and female is nothing compared to the distinction between adults with children and without children.  Adrian Belew is a father, Robert Fripp is not.  When my children were small, there was always a cookie-monster in Adrian’s suitcase when he came to visit.  When Robert came to visit, his idea of fun was to tell the same children of the same age that their necks were so pretty and appealing that he’d like to sink his teeth into them and lick their blood.  Their mother was speechless for days.”

Again, it is not my job to regurgitate what was written in the book.  My job is to make you aware that there is a publication that delves into these topics.  Fripp isn’t the only previous band member Bruford dishes about.  Members of Yes who were habitually late, members of Yes who drove particularly fast, members of Earthworks who wanted to beat other members of Earthworks senseless, and continuous points of view from an objective third party (his wife Carolyn).

In between frantic bookings, rehearsals, touring and life, Bruford finds time to smile. (Photo by Coming Age)

For me, for you, musician, music enthusiast, King Crimson,Yes, Genesis, Earthworks and Bill Bruford fans, this book is a must read.  I want to thank Amy at DGM for her continued care in getting the book into my hands.  I want to thank Mr. Bruford for his generous grant of the use of the image of the book as well as the pull quotes which are direct from the book.  As I said, this is an important publication in modern music.

Published by Jaw Bone journals.