The E-mail message field is required. Please enter the message. E-mail Message: I thought you might be interested in this item at Title: Earthworks Underground Orchestra Author: Bill Bruford; Tim Garland; Iain Ballamy; Jon Owens; Alex Sipiagin; Rock Ciccarone; Robin Eubanks; Chris Karlic; Steve Wilson, (Saxophonist); Henry Hey; Mike Pope, (Bassist); Earthworks Underground Orchestra (Musical group) Publisher: [Place of publication not identified]: Summerfold Records, 2006. Find more information about: OCLC Number: 156499389 Notes: Jazz ensemble. All titles arranged by Tim Garland, except 'Thud' and 'It needn't end in tears' arranged by Iain Bellamy.

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Programme notes laid in container. Credits: Produced by Bill Bruford. Performer(s): Bill Bruford, drums; Tim Garland, tenor and soprano saxophone, flute, bass clarinet; Jon Owens, trumpet; Alex Sipiagin, trumpet, fluegelhorn; Rock Ciccarone, trombone; Robin Eubanks, trombone; Chris Karlic, baritone saxophone, flute; Steve Wilson, alto and soprano saxophones, flute; Henry Hay, piano; Mike Pope, bass. Event notes: Recorded at the Iridium Jazz Club, New York City, December 10-11, 2004. Description: 2 audio discs (83 min., 25 sec.): digital; 4 3/4 in. Details: Compact disc.

Contents: Disc 1. Libreville (7:49) -- Up North (7:41) -- Pigalle (5:22) -- Speaking in wooden tongues (8:30) -- Footloose and fancy free (10:17) -- Bajo del Sol (9:14) -- It needn't end in tears (8:31) -- The wooden man sings, and the stone woman dances (13:07) -- Bonus CD.

Thud (5:19) -- Rosa ballerina (4:52). Responsibility: Bill Bruford, Tim Garland.

• • • • • • • • • • • Website William Scott Bruford (born 17 May 1949) is a retired English drummer, percussionist, songwriter, producer, and record label owner who first gained prominence as the original drummer of the rock band, from 1968 to 1972. After his departure from Yes, Bruford spent the rest of the 1970s playing in, touring with and, and eventually forming his own group,. In the 1980s, Bruford returned to King Crimson for three years, collaborated with several artists including,, and, and formed his jazz band in 1986. He then played in which led to his return to Yes, lasting until 1992. Bruford played in King Crimson for his third and final tenure between 1994 and 1997, after which he continued with Earthworks and further collaborations.

On 1 January 2009, Bruford retired from public performance. He released his autobiography, and continues to speak and write about music.

He operates his record labels, Summerfold and Winterfold Records. In 2016, after four-and-a-half years of study, Bruford earned a in Music at the.

In 1990, he was inducted into the Hall of Fame. He was inducted into the as a member of Yes in 2017. Contents • • • • • • • • • • • • • Early life and education [ ] Bruford was born on 17 May 1949 in,, the third child of Betty and John Bruford, a local veterinary surgeon. He has a brother, John, and a sister, Jane. He attended boarding school. Bruford decided to take up drumming at thirteen after watching American jazz drummers on the jazz television series,, and practised the instrument in the attic of his house.

He cites,,, and as his favourite and the most influential drummers as a youngster. Around this time, Bruford's sister bought him a pair of drum brushes as a birthday present, and Bruford would practise using them on album sleeves after he was told the sound resembled a while watching Jazz 625.

Bruford recalled it as 'a perfect education'. Though he was given a single snare drum at first, Bruford gradually built a full drum kit. He later took a few lessons from Lou Pocock, a member of the.

During his time at boarding school, Bruford befriended several fellow jazz fans, one of them a drummer who gave Bruford lessons in improvisation and a tutorial book by American jazz drummer. They then performed as a four-piece named The Breed, a rhythm and blues and soul band that Bruford played with from 1966 to 1967 until he was unable to attend all their gigs, leaving the band to hire a second drummer. The Breed were formed by Stu Murray on guitar, Ray Bennett on bass, Mike Freeman on sax, Doug Kennard on guitar and vocals and Bill Bruford on drums. After he left boarding school, Bruford took a before he intended to start an economics course at in September 1968.

He auditioned for a place in on 16 January 1968 at a pub in. After he was unsuccessful in being able to join the band, Bruford 'hung around until the end and told them they had the wrong guy. I talked my way into it'. His tenure lasted three gigs as he messed with the beat, and joined Paper Blitz Tissue, a psychedelic rock band, for a short time. Bruford then spotted an advertisement in a music shop from The Noise, who were looking for a drummer to play with them for a six-week residency at the Piper Club in, Italy. He remembered the experience as 'ghastly', felt his bandmates could not play properly, and had to hitchhike back to London with his kit. Career [ ] 1968–75: Yes and King Crimson [ ] Following his return to London, the nineteen-year-old Bruford settled into a flat in north London and placed an advertisement for drum work in the.

It was spotted by singer of, a London-based band that also consisted of bassist and guitarist Clive Bayley, who sought a replacement for their departing drummer, Bob Hagger. The four first met on 7 June 1968; Anderson was so impressed with Bruford, he invited Bruford to play with the band that evening at the Rachel McMillan College in. Their entire set consisted of ' by as it was the only song they all knew how to play through, but Bruford was impressed with the band's ability to sing in harmony. Following the gig, Bruford had several offers to join soul bands, one of which earned as much as £30 a week, but chose to form a new, full-time group with Anderson and Squire. The four entered rehearsals, which ended in replacing Bayley on guitar, and they changed their name to with new recruit, keyboardist.

During his first tenure in Yes, Bruford played on their first five studio albums: (1969), (1970), (1971), (1971), and (1972). His first attempt at composition was 'Five Per Cent for Nothing', a track featured on Fragile. Bruford said, 'I learned how to read the horizontal lines, but not the vertical notes.' Despite this he has successfully written many compositions over the years, albeit slowly. The band members were no strangers to alcohol, but Bruford doesn't remember a lot of 'sex, drugs and rock n' roll'. The whole band used to drink a lot of alcohol, and they often visited a club in London called the that the band's manager, Roy Flynn, also managed. The Speakeasy stayed open until two or three in the morning, so Yes could play a gig in England within a hundred-and-fifty mile radius and still make it back to the Speakeasy at about two o'clock, where they drank 'large amounts' of whiskey and Coca-Cola.

Bruford recalled Yes being hot blooded and argumentative, with personality conflicts being the eventual reason for his exit. These, for him, included problems in understanding other members' accents, differences in social backgrounds, and many other issues that set the band in a constant state of friction between Bruford,, and. On 19 July 1972, Bruford left Yes to join. He said, 'In Yes, there was an endless debate about 'should it be F natural in the bass with G sharp on top by the organ, or should it be the other way around?' In King Crimson, almost nothing was said. You were just supposed to know.' Rehearsals began in September 1972, followed by an extensive UK tour.

His instinct to remember complicated drum parts was shown when he learned how to play the long percussion and guitar part in the middle of ', 'by listening to it and just learning it.' Bruford cites the six months that percussionist was in the group as highly influential on him as a player. Was released early the next year, and the group spent the remainder of 1973 touring Britain, Europe, and America. [ ] Bruford played on (1974) and (1974) before disbanded King Crimson in September 1974. Ruthuragalu Serial Title Song Mp3 Download there.

He is featured on their live album, (1975). 1975–80: Genesis, Bruford, and U.K.

[ ] Following his departure from King Crimson, Bruford felt his 'sense of direction was rather stymied' and was unsure on what to do next. Rather than get involved with the next project straight away, he chose to wait for an appealing offer. In 1975, Bruford played drums on Squire's solo album, and. Bruford also joined for several live performances.

He declined their offer to join as a full-time member as there were already many writers in the group, and felt his contributions to the music, the majority of which was already written, would have caused problems. In 1976, Bruford spent six months with as their live drummer on their of North America and Europe, their first after the departure of and drummer assuming lead vocals on their first post-Gabriel album,.

Bruford had known Collins for several years and performed with Collins' side project, during which he suggested sitting in the drum seat while Collins sang on stage until they found a permanent live drummer. Bruford's performance was included on the concert film recorded during the tour,, and the live albums and. In 1977, Bruford formed his own band named. Members of the band were initially (keyboards), (bass), (guitar) and Bruford (drums). The first album (1978, recorded as a solo project) also had on vocals, on flugelhorn and on rhythm guitar. The second album, where the moniker 'Bruford' was retained but as the band's name, (1979), was entirely instrumental, except for some spoken lines by Bruford during the introduction to 'Fainting in Coils'.

There were two live albums from this period. Bruford – is a 2006 DVD release from the eponymous series and (1979), compiled from live shows at in Roslyn, Long Island, in 1979 (including one broadcast on radio station —most, but not all, of the tracks on the album are from that show), with 'the unknown' John Clark replacing Holdsworth on guitar. The group's final studio album (1980) continued this line-up with bass player Berlin providing vocals on some songs. Backing vocals were provided by Canterbury scene stalwarts and Amanda Parsons, as well as some incidental cello playing by credited as 'Georgie Born'.

Unfinished vignettes for a projected fourth album were recorded in 1980 and are set for release in October 2017 as part of a Bruford retrospective deluxe boxed set. Following his first solo album, he was reunited with King Crimson bassist/vocalist in the progressive rock group. During his time in the band, from 1977 to 1978, the band released its eponymous debut album (1978) and conducted one U.K. Tour and a couple of North American tours. After this he was dismissed from the band, due to his disagreement with Wetton and keyboardist 's decision to fire guitarist, whom he'd brought into the band. He subsequently turned his focus on his own band,. 1981–88: Second King Crimson stint and Earthworks [ ] Bruford was part of a newly formed King Crimson again in 1981 with a different line-up, consisting of Bruford, Robert Fripp on guitar, on bass and, and on guitars and vocals.

He recorded (1981), (1982), and (1984) with them, moving to a kit of both acoustic and electronic drums and using his renowned style, before they disbanded again in 1984. In the early 1980s, Bruford felt the technology in electronic drums could not reproduce the sounds he wished for, so he 'decided to wait until it got a bit better'. He then teamed up with Swiss keyboardist, a former member of Yes in the 1970s, after he learned that Moraz lived a few minutes from his home in. As Moraz/Bruford, the two released (1983) and (1985), two albums recorded on acoustic instruments.

The albums were supported with several live shows, including a tour of. In 1986, Bruford formed his own jazz group with on keyboards and tenor horn, on saxophone, on bass, and on samples, keyboards, and co-producer. By then, drum technology had improved to Bruford's satisfaction and he resumed using the instrument, specifically the electronic kit. The band re-emerged in the 1990s with an acoustic line-up, notably featuring for a period. Bruford used and his drumming, though in the later years of his career he returned to using a primarily acoustic drum set.

While Bruford has creative freedom with Earthworks, he continued to collaborate with many musicians, including one-time keyboardist (with whom he recorded two albums in the 1980s) and bassist. Earthworks was his primary focus in the final years of his career, particularly after his departure from the latest incarnation of King Crimson. In an interview for (15 May 2003) he said, 'I have this image that I might be a 'rock guy on vacation'. That idea is anathema to me—and I've cured it by making eight albums with Earthworks.' [ ] He described Earthworks as 'seeing music as a social encounter, where you look another guy in the eyes across the room, say 'one-two-three-four' and the music begins. That's where my pleasure lies, for sure' (, 16 May 2003). [ ] 1988–93: Anderson Bruford Wakeman Howe and return to Yes [ ] (sometimes referred to by the acronym ABWH) was a subset of former members of the progressive rock-band Yes.

The group consisted of vocalist Jon Anderson, drummer Bill Bruford, keyboardist, and guitarist, with providing the bass duties since Yes bassist was involved with the official Yes. Anderson Bruford Wakeman Howe recorded one in 1989. A live recording from their subsequent concert tour was released in 1993.

Bruford would rejoin briefly in 1991 and 1992 for the (1991) album and tour, so titled because it brought together ABWH and the members of Yes prior to the union as an eight-member band. His said of the album: Well, the more money you pay for a record, the more money you interfere with it – and this was a big budget record. So, they eventually decided that the guys in France (Anderson, Bruford, Wakeman and Howe) needed the assistance of all the other Yes guys in California (Chris Squire,, and ). So, our work was duly e-mailed, I guess, to them. They were then put on and found lacking. Then, also put on was a cast of a thousand studio musicians. So, the whole thing turned into the most God awful, auto-corrected mess you could possibly imagine!

The worst record I've ever been on. He said of the tour: It was just a sort of a summer vacation. It was fun to do in the sense there were some 'old pals' and it was possible to do because we didn't have to give rise to any new music.

So in as much as the band was just playing repertoire material, there was kind of a 'ticket buy' in the idea of all those, you know, the entire cast of Dallas on stage at once, kind of thing. And there was some kind of attraction to that. But that was really all it was, I think.

And I think I was probably an unnecessary spare part. So I didn't enjoy it terribly. But those gigs can be quite fun as performing in huge stadiums can be quite fun on a kind of purely visceral level. Just kind of being there and enjoying it. I don't venture, however, you'd want to give up your day job to do it.

Bruford and Steve Howe would later undertake a recording project together in 1992/1993 to have an orchestra reinterpret some of Yes' works. The resulting album, titled, was released on RCA records in 1993. 1994–2009: Return to King Crimson, Earthworks II and retirement [ ]. Bruford at the in Germany, 2004 King Crimson re-emerged once more in 1994 as a six-piece band, consisting of its 1980s line-up along with on and sharing the drumming duties with Bruford. Dubbed the 'double trio' configuration, between 1994 and 1996 they released the (1994), the full-length studio album (1995), and two live albums, (1995) and (1996).

Rehearsals to create new King Crimson material followed, as well as a week of performance with the sub-group in 1997, after which Bruford left the band and its iterations for good. His reason for abandoning King Crimson was his frustration with rehearsals, which he felt weren't going anywhere. Rapidly eschewing electronics, Bruford moved to his focus to acoustic jazz, firstly in a collaboration with Americans and (1997) and then with an all-new acoustic (1999-2008). While this remained his primary focus, he also sought other collaborations in the final decade of his career, including the jazz-rock band (1998), a duo with Dutch pianist (2002-2007), the contemporary composer Colin Riley with the collective (2009), and in presenting drum clinics. Bruford retired from public performance on 1 January 2009 (except for one low-key performance with Ann Bailey's Soul House in 2011). He retired from studio recording at the same time, although his final studio work,, was not released until later that year. His autobiography was released in early 2009.

In 2016, after four years of study, Bruford earned a in Music at the. Legacy [ ] Many artists have cited Bruford as an influence, including,,,,,,, [ ],,,,,, and. In addition, other artists have been quoted expressing admiration for his work including,, and. The character 'Bruford' from the popular manga/anime series was a direct homage to Bill as series creator is a huge fan of his in work in Yes. Araki even used Yes's ' as the series end credit's theme. Abortive projects [ ] Bruford has been involved in a number of abortive projects, including a trio with Rick Wakeman and which made the headlines of in October 1976; Bruford has also told of 'an abortive and late rehearsal/audition with bass player out at his mansion in, once, but nothing came of that.'

He was also approached in 1985 by ex- guitarist to be the drummer for his new band with,, along with bass player. 'We rehearsed briefly, but I think decided we were mutually unsuited.!' Awards [ ] In 1990, the readers of voted him into that magazine's Hall of Fame.

In 2017, he was inducted into the as a member of Yes. Discography [ ]. Retrieved 8 October 2011. Retrieved 10 August 2015. Rock & Roll Hall of Fame. Retrieved 20 December 2016. • ^ Mike Brannon (March 2001)...

Archived from on 5 April 2001. Retrieved 5 April 2015.

Abstract Logix. Retrieved 15 July 2014. Archived from on 18 February 2005. Retrieved 15 July 2014. • ^ Dowling, Peter (May 1976)..

Beat Instrumental: 6–7. Retrieved 29 November 2016. • Snider,Charles (2007). The Strawberry Bricks Guide to Progressive Rock (1st ed.). Chicago: Strawberry Bricks.

• Album tracks that are from different shows than 12 July 1979 WLIR broadcast are 'Hell's Bells,' 'Sample And Hold,'and '5G.' The broadcast also included performances of three tunes that do not appear on the album: 'Joe Frazier,' 'Forever Until Sunday' and 'Adios a la Posada.' In addition, the WLIR broadcast versions of 'Travels With Myself' and 'One of a Kind' were complete, but are truncated on the album. • ^ Prasad, Anil (1992).. Retrieved 30 October 2016. • Lambert, Pam (5 August 1987)..

Wall Street Journal. Retrieved 30 October 2016. 23 March 2005.

Retrieved 15 July 2014. Official Bill Bruford Website. 26 January 2009. Archived from on 30 January 2009. Retrieved 8 October 2011. Retrieved 15 July 2014.

Retrieved 2016-08-18. • Oriel, Jane (21 November 2006)... Retrieved 5 March 2017.

Q: Which drummers have been an inspiration to you? Danny Carey: In the prog world, Bill Bruford (King Crimson, Yes, Bruford). He was always really free thinking about electronic drums and things like that and I always appreciated that a lot, especially at one point when all of a sudden it became so uncool to use electronic drums, but I just thought, 'Ah, man, everyone should do what pleases themselves'. So yes, he was a big influence in that way. Retrieved 9 March 2017.

San Jose, California. 28 November 2012. From the original on 17 October 2015. Retrieved 19 May 2017. An interesting aspect of Cameron is that his drumming is deeply influenced by the fusion drummers of the seventies, especially Bill Bruford. Many Cameron fans may not be aware of these influences. However, Cameron’s command of groove and space demonstrates these roots.

As Cameron says, “Listening to a lot of Bruford prepared me supremely to play in Soundgarden.” Cameron emphasized that (Bruford’s) placement of fives and sevens as critical to writing the drum parts for the new record. • Kearns, Kevin (12 May 2004)... Partitionguru Full Version Download. Retrieved 5 March 2017.

Q: You must have a big list of drummer influences. Brann Dailor: [.] for prog, definitely Phil Collins and Bill Bruford. [.] • Peiken, Matt (September 1993). Modern Drummer. Berkeley, California. Retrieved 7 March 2017. 22 September 2006.

From the original on 26 July 2015. Retrieved 12 March 2017.

Q: Who are some of your biggest influences? Gene Hoglan: [.] Bill Bruford was a big 'un, with the 80's version of King Crimson [.] • Haid, Mike (25 March 2007).. Modern Drummer.

Retrieved 9 March 2017. [.] The self-taught Harris has always taken a minimalist approach to the more complex odd-meter material–until now.

“Danny Carey turned me onto the drumming of Bill Bruford,” explains Harris. “Once I started checking out what Bruford was doing, and how he was constantly creating new musical ideas on the drums and exploring unique drumset configurations, it inspired me to open up my playing and explore different drumming concepts for our new music.” • thodoris (November 2011).. Www.hit-channel.com (published 12 April 2012). Archived from on 31 December 2014.

Retrieved 5 March 2017. From the original on 6 December 2017. Retrieved 9 December 2017. • Bidwell, Stephen (October 2013)..

Austin, Texas. From the original on 5 December 2017.

Retrieved 9 December 2017. • Worley, Gail (7 February 2009)..

Ink19.com (published 10 April 2009). Retrieved 16 March 2017. Q: Which players have most influenced that aspect of your style, especially with respect to the polyrhythms? Chris Pennie: [.] I would have to say Bill Bruford from King Crimson and Yes [.] • (29 July 2016)... Retrieved 19 April 2017. Retrieved 13 March 2017.

• Benidt, Doug (11 February 2013)... Retrieved 9 March 2017. • thodoris (November 2011).. Www.hit-channel.com (published 12 April 2012). Archived from on 30 January 2016. Retrieved 5 March 2017.

Bill is a great drummer and probably a very intelligent guy. He wrote a fantastic book where he’s saying many intelligent things about the music business and other musicians. • Haid, Mike (14 October 2014).. Modern Drummer.

Retrieved 14 March 2017. 16 February 2016. Retrieved 12 March 2017. Q: You also have quite the admiration for Bill Bruford Adrian Younge: Oh yeah, dude he is just amazing. King Crimson and anything else he was a part of was quality work.

His work on the drums was so sick dude. I love his approach because he doesn’t do too much, but the little things that he does are very syncopated and interesting. That dude just creates unique compositional soundscapes. Official Bill Bruford Website. 17 April 2007. Archived from on 8 October 2007. Official Bill Bruford Website.

Archived from on 28 May 2002. Sources • Bruford, Bill (2009). Bill Bruford: The Autobiography. Yes, King Crimson, Earthworks and More. Jawbone Press.. • Hedges, Dan (1982). Yes: An Authorized Biography.

Sidgwick & Jackson.. • Welch, Chris (2008). Close to the Edge – The Story of Yes. Omnibus Press.. • The Breed: External links [ ] Wikimedia Commons has media related to.

• Official website at • NAMM Oral History Library (2011).