Bill Bruford Releases Definitive Box Set

SKF NOTE: Bill Bruford’s IQ must be way up there. When I interviewed him by phone during a King Crimson tour, I felt as if I was driving fast at night down a winding, mountain road. One slip and it’s all over! 

Bill’s a great drummer. If you missed these Bruford albums when they were first released — here’s a great opportunity to grab them now.

Thank you, Blabbermouth.net, for bringing this news to my attention.

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blabbermouth.net

Drum Legend And ROCK AND ROLL HALL OF FAME Inductee BILL BRUFORD Releases Definitive Box Set
August 28, 2017

BRUFORD: “I wanted to play drums in a certain way and if you want to hear them played in that way you’ve got to write the song. You’ve got to control the audio environment in which your drums are going to be heard and once you’re doing that you’re into a solo career.

“Looking back, the band despatched these tricky little compositions with a smile on its face; with brio, vigor and only a handful of wrong notes. The band was over-caffeinated — short on subtlety but long on the sort of majestic stately themes with antecedents in progressive rock that set it apart from contemporaneous American outfits. We were a rock group with a jazz sensibility, rather than a jazz group with rock leanings.”

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Becoming a Pro Musician: Risk, Failure, Lessons Learned

SKF NOTE: Maybe other musicians grow by reaching one skill level, staying at that level for awhile until something takes the musician to the next skill level. That something, in my experience, is usually a combination of listening, developing chops, and playing with other musicians.

Sometimes rising to the next level is scary, and sometimes it means taking a chance in public and failing. This audio clip is me circa 1974 describing one such incident playing drums at a jam session in front of hundreds of people, with a band I really admired.

I wrote about this incident in a December 20, 2014 blog post, My Drum Lession with Max Collie & the Rhythm Aces. I had no idea this audio clip existed until last week. But it includes me describing My Drum Lesson to another musician friend, within days of the incident.

Also, I listened to this audio clip to the day, or within one day, of when I recorded about 43 years ago. What I hear on this clip is a young drummer, about 23 years old, very willing to take risks, to fail, to learn from failure what went wrong and what went right, and to press on to the goal of becoming a better professional drummer.

Also, my New York accent on this tape is long gone, but you can tell, having grown up on Long Island, NY, I had been in Iowa a very, very short time.

Thank you, Cris Worley, for keeping this tape safe and for sending it my way.

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Don Lamond: Gretsch Ad (1968)

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SKF NOTE: A Gretsch Don Lamond ad from February 22, 1968.

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Wynton Marsalis: Thinking and Playing Are Different Skills

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SKF NOTE: This tale of Wynton Marsalis‘s life on the road has been on my bookshelf for a few years, waiting for the right moment to read. That moment started a week ago. Here’s a good thought from Wynton I underlined on page 32 of this book. The advice applies to all musicians, including drummers.

“Thinking and playing are two totally different skills. Hearing and playing are also two different skills.

“The thought might not be in what you play because no one knows where his sound comes from. It’s just your sound. You can work on it and make your sound more like you.

“But a lot of musicians would rather play scales and patterns and live in the glow of somebody else’s sound.

“To be heard, you have to develop your own sound. You might as well, because who you are will forever be in your voice.”

Source: Jazz in the Bittersweet Blues of Life, by Wynton Marsalis & Carl Vigeland 

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John Von Ohlen: I Started on Drums at Age 17 (1984)

SKF NOTE: From the transcript of my interview with John Von Ohlen, published in the March 1985 Modern Drummer. John’s relatively late start on drums were preceded by more than a decade of studying accordion, piano, and trombone. And also, have a father and uncle who introduced John to great big band jazz records when John was about six years old. And the final stroke was the 1955 sound of Mel Lewis‘s ride cymbal driving Stan Kenton’s Orchestra.

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