Customer Reviews

One of a Kind

5 star:		(38)
4 star:		(4)
3 star:		(3)
2 star:		(1)
1 star:		(1)

 

 

Bruford had THE finest pedigree of all British progressive drummers -- Yes, King Crimson, UK. His first album, 'Feels Good to Me', had its highlights, but he was still feeling his way, unsure whether he needed female vocals etc. But on this, his second album everything came together superbly.

As stated in other reviews, the guitar solos by Allan Holdsworth are outstanding, sinewy creatures that weave through almost every tune. Bruford's compositional skills are also assured -- you never get the impression, as you might with many jazz-rock pieces, that a passage is included just to show instrumental virtuosity. Every passage has a purpose in the carrying of the tune.

The keyboards were played by Dave Stewart, incidentally, who had previously played for National Health and Egg. He also released a magnificent single -- 'Busy Doing Nothing' -- in the early 80s with Barbara Gaskin. Goodness knows whyhe doesn't get equal credit with Holdsworth and Berlin on the Bruford 'Master Strokes' compilation.

If you like UK, Gong's 'Shamal', King Crimson's 'Red', or Corea's 'Romantic Warrior', there's a pretty good chance you'll love this album.

I first became aware of Bruford's drumming prowess when I was a kid, overhearing my older siblings' Yes albums. The three that I still enjoy to this day -- "The Yes Album," "Fragile" and "Close to the Edge" -- had many things in common, most notably the unique drumming of Bill Bruford. With his amazing way with complex time signatures and his unique, tightly tuned drums, Bruford was one of the main reasons I took up the drums.

Several years after leaving Yes, Bruford made this magnificent jazz/fusion album (following the almost-but-not-quite-as-good "Feels Good to Me"), featuring Jeff Berlin (bass), Allan Holdsworth (guitar) and Dave Stewart (keyboards, not the guy from Eurythmics). While I'm not crazy about the jazz/fusion genre, this album sets itself apart by actually being tuneful. Most jazz/fusion is expertly played, yet detached, dry and impersonal. Bruford's stuff has actual melodies -- hummable, even -- and is probably the only fusion album I've heard that will leave its songs stuck in your head.

The band weaves in and out of the knotty compositions with grace. Holdsworth's solos blast in and out of the songs wonderfully. Berlin's bass is fluid and effortless (his solo on "Travels With Myself" is a real mind-blower). Dave Stewart adds diverse color to the songs with his arsenal of keyboards, without ever sounding tacky. And what can be said of Bruford himself? Simply amazing. Probably the best rock drummer I've ever heard.

The songs are complex yet quite accessible. Highlights for me include the title track, "Five G," and "Travels With Myself." but there really isn't a weak track in the bunch.

I'm not a big jazz guy (for instance, Earthworks leaves me cold) but I AM a big prog guy and this album definitely qualifies. It is, indeed, as others have said, a great step forward from "Feels Good to Me". I also agree, along with others, that it is one of Alan Holdworth's finest moments (along with his solo album, "Metal Fatigue".) More on that in a minute.

This is what jazz-oriented prog should be, quirky, challenging, but infinitely accessible after four or five listens. It grooves. You can bang your hands on the dashboard to it (and I do). Yes, I like mid-Seventies King Crimson as much as the next person, but I can't listen to side two of "Starless and Bible Black" over and over or "Providence" on "Red" like I can this album. There's not a weak cut on "One of a Kind" and after 15 years I still listen to it over and over.

I think what makes this album work is that it is a true team effort, with personalities playing off of each other and keeping them in check. Both Dave Stewart (who should be in the Canterbury Hall of Fame for his work in Hatfield and the North and National Health -- I can't believe how many reviews in the selection don't praise him, or even worse, don't know who he is) and Alan Holdworth are kept under control by the other band members so they do not fall prey to their worst excesses. Sort of like Lennon and McCartney in the Beatles.

This is especially true of Holdworth. Most of his solo work after "Metal Fatigue" strikes me more as some kind of clinical, soulless guitar exercise than music. He's good on "UK", too (and hated the constraints placed on him there, by the way) but here he is less conservative without getting too obscure. Makes me sad that he didn't play like this more often. His work alone is worth the price of this album.

Bruford sits behind it all, his usual gracious self, one of the best drummers in the world working as part of the musical fabric, never overshadowing the cohesive purpose of the piece.

This is great stuff. And if you are a prog fan it's essential listening.

Bill Bruford is one of the most gifted drummers on the prog scene. This album can be considered as a follow-up to the first UK (but without vocals). The tunes are briliantly constructed, with bass played by Jeff Berlin, guitar by Allan Holdsworth, and keys by ex-Egg member, whose name I don't remember. This is the album that made me prefer fusion to jazz-rock, as the music is not based on a superimposition of solos but leans rather to a cohesion between the different instruments, and thus is closer to prog-rock than to jazz-rock. Holdsworth's guitar sections are even pleasant, not mind-blowing as on his further solo efforts. So if you are purchasing an album featuring excellent drumming with beautifully written music, check this album out.

I can not say enough about this recording and how much pleasure it has brought me. I can still remember opening the shipping box that this album arrived in as a brand new release. I immediately set it aside and purchased it. This is one a few recordings that is best listened to as a whole, I very rarely choose this or that track. I recently gave it a listen and it holds up as one of the best fusion types ever. I feel it is also Alan Holdsworth best effort. His guitar playing was hard to grasp at first, at points it is so dense with sadness and heavy emotion, on the final track he seems to tell such a story of loss and grief. It's like his guitar has a language as opposed to just dancing around the neck at random. Then I read an interview where Alan indicated he had wanted to play the saxophone and so he approaches his guitar solos as a sax, playing the notes in that fashion.(Don't overlook Alan with Bill on the U.K. album of 1978) Jeff Berlin is a star on this album also,(as he is on another album with Bruford and Kazumi Watanabe called, "The Spice of Life"). Bruford is such a generous musician, this record is not built around his drumming for the sake of him showing off, it is a collective effort. Very few drummer albums are great, but Bill writes well and knows when to play and when not to play, it's the best.

I have to echo the words of other people who write glowing reviews of this CD. Bruford created a masterpiece here, with both his intelligent compositional and drumming talents evident throughout. Add to that the amazing musicianship and heartfelt playing of Allan Holdsworth and you have a fusion/progressive classic that should definitely be in your collection if you like any of Bruford's other work, any fusion, or any progressive rock whatsoever. After listening to this CD, you'll wonder to yourself why they don't make music like this anymore.

I was all over this album the day it arrived as a brand new release in my sister's record store. I had no idea what I was in for, but I was amazed by Bill's writing and arrangements. I really can not express how much pleasure this collection of music has given me. The album is one of a few that is best enjoyed listened to entirely, all of it, start to finish. I rarely just listened to this or that song. Bill is such an unselfish musician, even though it's a great drummer's album, it really stands out as a collective effort. The moods that are created vary greatly, but the dark emotions are my favorite. The tension and release is perfect, it takes you on an intense journey. It took a long time to grasp the intensity of Alan Holdsworth's guitar playing until I read an interview where he indicated he had wanted to play the sax and that he approaches his guitar as though it was a sax. I feel this is also Alan's finest album. Jeff Berlin is fantastic, (he also joins Bill with Kazumi Watanabe on an album called The Spice of Life, which is incredible). Read the other reviews, they have more details. One last thing, this recording is over 20 years old and I still pull it out from time to time and love it each time. One of the best jazz fusion type records ever.

Bill Bruford, Allan Holdsworth, Jeff Berlin - and the 'unknown' keyboard player - who's name I've appropriately forgotten.

A classic - my favourite Bruford ever, better than all the King Crimson and Yes recordings (and some of these are great - especially Red & Three of a Perfect Pair).

The master of alternate time signatures - Vinnie Coliuta must have been heavily influenced by him. And no surprises that Vinnie has also worked with Allan Holdsworth.

This CD is also my favourite Holdsworth - over his many other sessions and his solo stuff. It's way pre-synthaxe ('not that there's anything wrong with that'), and his tone just aches and soars. The sound is so gorgeous you don't really notice the phenominal speed - it's not a gimmic.

Jeff Berlin's famous 'Five G' lick appears here too, but it's not as if that's the only thing he does worth hearing. A killer player.

Yum.

Yum, yum, yum.

This CD is the apex of the broiling fusion scene in 1970's. One of the most imagininative, compelling groups EVER. And THIS IS THEIR BEST ALBUM BY FAR!!!!I saw these guys live at "My Father's Place" on Long Island in 1980. Jon Clark replaced Holdsworth for the tour, but it hardly mattered (I WAS initially dissapointed of course). This collection of tunes is listenable, exciting rock/jazz. It has part of it's genesis in albums like Yes' "Close To The Edge". Momentous. Just as the Beatles dragged their version of Chuck Berry across the Atlantic, Bruford's absolute love of the smokin' Blue Note albums from late 50's and early 60's is the origin of this fine collection of tunes. Nothing better, I don't care what you say; by this point in history of Prog, they were ALL chasing Allan Holdsworth and Bill Bruford. They still are! Drink right from the source! Ahhhhhhhhhhh-refreshing!

This is indeed a fusion masterpiece and maybe the highlight of bill bruford's career. What is probably most striking about such a collection of improvisational heavyweights is the astounding and breathtakingly beautiful and intricate ensemble work of Alan Holdsworth, Dave Stewart, Jeff Berlin, and Bruford. The compositional format provides a head-spinning dialog between each of the musicians and the anticipation and telepathy between them contributes to the finest moments of the uniform brilliance of this album. However, with improvisers of the caliber of Holdsworth and Stewart, the scales on the various keys and guitars are transposed and bent in all sorts of marvelous and unexpected ways; the invention is non-stop. This is a pioneering work forging a new standard of excellent fusion.