Customer Reviews

Master Strokes

5 star:		(8)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

As many already know, Bill Bruford is one of Britain's finest drummers having played with prog-rock giants such as Yes, King Crimson and Genesis (as a tour member) as well as being a session musician for several well-known rock and jazz musicians. Between being a band member, Bill also has quite an extensive solo catalog with his early fusion band known as Bruford as well as his current straight-forward jazz combo Earthworks (which actually began as an electric outfit before being reformed as an acoustic quartet in the '90s).
The "Master Strokes" compilation covers the best from Bill's fusion era (the Bruford band) as well as including three tracks from his two collaborations with former Yes/Moody Blues keyboardist Patrick Moraz. The Bruford material is dynamic jazz-rock in the style of pioneering bands such as Weather Report, Return to Forever and The Mahavishnu Orchestra. Bruford's sidemen of bassist Jeff Berlin, keyboardist Dave Stewart (not the same guy from Eurythmics) and guitarist extraordinaire Allan Holdsworth (who is replaced by John Clark on two tracks) proved to be a winning combination as each track included here is as strong and powerful as any of the above mentioned bands. Bill's rhythmic precision and ability to weave through many odd time signatures in a single piece remains unprecidented.
The three Moraz/Bruford pieces are entirely acoustic and loosely improvisational. The cover of Max Roach's "The Drum Also Waltzes" is especially superb as it showcases Bill's drumming technique without the aid of other instruments.
This CD is truly a collection of "Master Strokes" and is a great introduction to Bill Bruford's high-powered jazz-fusion period. There is not a single weak track in the bunch. His later Earthworks material is also worth listening to especially his recent live works "Footloose and Fancy Free" and "Random Acts of Happiness".
Definitely essential for fans of Jazz-Fusion as well as Progressive rock.

Sidenote: Although "One Of A Kind - Part One and Two" are listed as two separate tracks on the CD cover, they are actually indexed as one track on the CD. This creates the illusion that one track is missing on the disc when in fact it's not. This also means that the track numbers are out of order on the CD cover. After "One of a Kind", track 4 should be 3, track 5 should be 4 etc. The tracks are one number off on the CD cover.

This CD came out relatively early in the history of the format -- just three years after CD players invaded Western markets. It was, at the time, a god send because you could only acquire the CD versions of any Bruford albums via very expensive Japanese import. I didn't fancy paying $50 for either of my two Bruford favourites -- 'One of a Kind' (OoaK) or 'Feels Good to Me' (FGtM).

This compilation covers Bruford's masterpiece - OoaK -- pretty well. It also covers the later, not-quite-so-good albums, very adequately. The real problem is that it ignores the four classics from FgtM, namely 'Adios a La Pasada', 'Feels Good to Me', 'Either End of August' and 'Springtime in Siberia'. If you really insist on buying only one Bruford album, get this compilation. But you will quickly find yourself buying two more: OoaK and FGtM. (Sorry about the abbreviations.)

I am salivating over this CD, which I bought yesterday. I have always been a fan of Bruford, ever since watching his instructional video, Bill Bruford and the Beat. This just reinforces, and in fact enhances why he is just that amazing. The technical facility, his dexterity, and his intense coordination are simply mind-boggling! Allan Holdsworth and Jeff Berlin are equally incredible on this compilation. The band is tight through all of the crazy time changes, dynamic contrast, and everything in between. Bruford has inspired legions of drummers, and this album is just the tip of the iceberg. Buy it, and experience.

This is a great compilation of Bruford's earliest solo works - however, I must agree with the other reviewer who pointed out that there are some great pieces of music which never made it to this album. For example, why include "Sahara of Snow Part II" and not include "Part I"? It makes no sense - I don't think "Part II" stands on its own all that well.

Also, I don't understand the decision to include pieces from his solo work with Patrick Moraz at all. Why didn't they include more tracks from Bruford's first three solo albums instead? I think that would have made a better compilation. Anyway, what about Patrick Moraz? Wasn't "Flags" one of his solo works as well?

I think "Adios a la Pasada" from "Feels Good To Me" was not included because of the vocals. I think other vocal tracks were not included for the same reason. In other words, the record label decided to keep this disc mainly instrumental, so as to keep the selection of music more consistent. They didn't want to "scare" anyone away with Annette Peacock's vocals (which are great - once you get used to her voice).

But the great thing about this CD is that the material has been remastered. Granted, it's not the best remastering job (done in 1986?) - but it is a far cry better than the standard "discount" copies of "Feels Good to Me," "One of a Kind" and "Gradually Going Tornado" that are floating around in record stores right now (bad transfers - be wary!). Someone told me that there are Japanese remasters of those albums available - but I am yet to find them. I hope someone eventually does a nice remastering job on Bruford's first three solo albums. They are so worthy of remastering.

As far as the music goes, what can I say? This is the best jazz fusion to come out of the late 1970s and early 1980s. It is comparable to early "Mahavishnu Orchestra," Chick Corea and "Return to Forever," Al Dimeola, Stanley Clarke - it hangs in there with all the best fusion - and progressive rock - but it is distinctly Bruford. The musicianship is unparalleled. You have to listen to this stuff at least 10 times before it finally starts to click. The quality of the compositions, the playing and the overall sound and mood are what make Bruford's first three solo efforts so fantastic - and so timeless.

So venture back to the days when NOTHING in music was digitally reproduced - when musicians had only their God-given ability and their instruments to rely on - and revel in the glory of true musicianship. Whether you play drums, guitar, bass or keyboards, you will be amazed at the technical proficiency of the musicians on all of Bruford's solo works ... his first three in particular. This compilation is worth buying - but you'll probably discard it after the originals have been remastered.

This is a 'best of' Bruford, that is, the early Bruford, who in the later 80s and 90s went even further off the beaten track. Bruford, as I'm sure you know, is surely God's gift to drumming. He's also, in the spirit of 'contemptus mundi,' wary of commercialism, even wary of displaying (and thus cheapening) his own talents too much--I wish some of those fantastic guitar players (Steve Vai and Yngwie Malmsteen come to mind) would be a bit more modest.

As far as I'm concerned, Bruford is the only member of Yes who went on to create memorable and meaningful music (unless you go for the bombast of, for instance, Rick Wakeman's "Journey to the Center of the Earth"--a nice experiment and all, but oh so dated now). No surprise, then, that he would hook up with some of the best and most interesting musicians; as far as guitarplaying goes, it doesn't get any better than Allan Holdsworth, and Master Strokes has plenty of him. I'm not going to sing Holdsworth's praises; just check out the solo in the opening tune, "Hell's Bells," or the frighteningly lyric and fluid solo on "One of a Kind."

Let me say this, again, for Bruford. The display of his skills is never overpowering: his talent is placed firmly in the service of the music. These are, for the most part, really good songs too, although a tune like "Joe Frazier" is memorable only for the quality of the musicians, which, in all of these songs, is truly outstanding.

This album recalls lots of memories for me. I remember listening to it in Amsterdam, when my friend Frans, a pretty gifted drummer, would point out to me just what was going on, in terms of syncopation and polyrhythms. I remember my friend Menno, a heavy metal drummer, not really digging the music but being quite in awe of the skill. I remember, years before, listening to "Fainting in Coils," and being overwhelmed by the mystery of the lyrics, the drumming, the melody, the ease with which these musicians would go from gentle musical narrative to absolute urgency--the song taught me rhythm, that there's more to life than the regular old four/four. Oh, it's all coming back now--I remember going sailing with my friend Arnold, with this album on tape on the ghettoblaster. Wonderful days. And Frans, didn't we play this in the car when we first went to France to go climbing, when you brought that horrible girl?

But most of all, I remember the sense of expectation and hope that permeates this album, that money isn't everything, that speed isn't everything, that soul and technical proficiency are not mutually exclusive. Thanks Bruford--you have transcended your own talent.

First of all, I don't know what Phil Sutcliffe is talking about! This album showcases Bruford's finest work post-YES, post-KING CRIMSON (the first time!) through the mid-80's when he was back with CRIMSON. His interplay of rhythmic melody against the virtuosity of Allan Holdsworth makes the album a MUST, not only for Bruford fans but also for Holdsworth fans! While I do agree that it is regrettable that no songs featuring Peacock's lyrics are present here, this is still the quintessential BRUFORD album - highlighting his best drums and percussion techniques. This album anticipates the work he is now doing with Earthworks, and again is a necessity for any complete Bruford collection.

I'm the type of person who loves Jazz Fusion and Progressive Rock very evenly. In fact all my CD's of Miles Davis, Return to Forever, Mahavishnu Orchestra, Weather Report, George Benson, Al Di Meola, Bob James, John McLaghlin, Spyro Gyra and Chick Corea sit comfortably with my CD's of Pink Floyd, Rush, King Crimson, and others. I will even put other Jazz Cd's like John Coltrane and Dave Brubeck in with them. It's all great music right? Why separate great music from great music?

This is why I probably love the music of Bruford. More on the Jazz Fusion side but Progressive Rock elements althrough. Kind of a reversal of Return to Forever. Bruford has the elements much like Soft Machine in that regard. Bruford also has Allan Holdsworth who played in Soft Machine as well as UK with Bruford who just happened to be more on the Fusion side. At least when Bruford was with them on their first album.

So why a compilation? We are Progressive Rock and Jazz Fusion nerds and are all album freaks and dont normally buy compilations right? Well the sound is remastered and sounds superior to previous releases on this compilation. And it does include most the best stuff from the first 2 albums which are hard to find and pricey as well as some great stuff after some of us including myself have not heard yet.
We have Hells Bells, One of a Kind parts 1 and 2, Beelzebub, and others. I bet writing a song called Joe Frazier was an absolute inspiration of Miles Davis paying tribute to Heavyweight Boxing Champion Jack Johnson. He might have well called it A Tribute to Joe Frazier.

Being a lover of Jazz Fusion getting this was simply a no-brainer for me and had me Fainting in Coils!

Wonderful CD Allan Holdsworth did some of his best work with Bill Bruford. Jeff Berlin was awesome . I wish they would get together and do it again and again.

Very nice collection of songs, this and his live album have filled in gaps so I don't need to buy his first two releases.

BILL BRUFFORD IN MY OPINION IS THE BEST DRUMMER IN THE WORLD.HE BEATS ROCK, JAZZ,EVERYTHING, EVEN KING CRIMSON LIKE NO OTHER.............