Bill Bruford: Difference between revisions
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=BILL ON ALLAN= | =BILL ON ALLAN= | ||
==Eulogy by Bill posted on Facebook== | |||
R.I.P. Allan Holdsworth (August 6, 1946 - April 16, 2017). | |||
With enormous sadness I write to express my condolences to Allan's family on the loss of a much-loved father and grandfather, my friend and colleague. For several years in the 1970s, through my own band and 'UK', I listened to him nightly, launching sheets of sound on an unsuspecting audience, changing perceptions about what guitars and guitarists should or could be doing, thrilling me half to death.I would have paid to be at my own gig. | |||
Allan wasn't easy, but if it was easy it wouldn't have been Allan. Like all creative musicians he was restless and relentless in pursuit of 'the perfect sound', the one that he couldn't get out of his head, the one that would never leave him alone. Now he will be at peace. Still, my guitar gently weeps. | |||
[[https://www.facebook.com/billbruford/photos/rip-allan-holdsworth-august-6-1946-april-16-2017with-enormous-sadness-i-write-to/10155401835017384/ Source]] | |||
==Excerpt from 1979 Modern Drummer interview== | ==Excerpt from 1979 Modern Drummer interview== | ||
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--Bill Bruford, "The Autobiography" pgs.100-101 | --Bill Bruford, "The Autobiography" pgs.100-101 | ||
==[[On Allan Holdsworth: January 2005 with Christophe Coureau]]== | |||
1) Do you remember the circumstances in which you first became aware of Allan as a musician? I was surprised to read a Melody Maker interview from November 1972 in which you already cited Allan as one of the guitarists that impressed you most, alongside John McLaughlin and Robert Fripp. Where did you first see him play, and with whom? | |||
BB: I can't quite remember. Maybe a Soft Machine album, and certainly he was very strong on "Gazeuse" by Gong. No-one else had that liquid style and the octave leaps and the whammy bar and the rest of it... | |||
2) As far as I know, your first collaboration with Allan was a demo for Virgin of "The Abingdon Chasp" in, I think, the summer of 1976, alongside Dave Stewart, Francis Moze and Ray Warleigh. Is this true? Do you remember playing/recording more tracks? Just Allan's compositions? Was this the first time you ever played together? Did that session leave you a strong impression, an inkling that Allan and yourself could form a strong musical partnership? | |||
BB: I don't remember anything about that demo, but Allan had certainly asked me to play in a pub in Putney (South-West London) some time around then with Ray Warleigh. Of course, by now I knew enough about his talent to be hugely impressed, and to think that if ever the opportunity arose, if ever I could find a vehicle big enough to contain him, I'd give him a call... | |||
3) Although you had found Jeff Berlin as early as 1975, it seems you didn't think of asking Allan to join your band and that he played on "Feels Good To Me" as a last minute decision. Why? In retrospect (perhaps only in retrospect), he seemed the obvious choice. According to one source, it was he who called you to ask you to join his band - would you say there was a mutual desire to play together? | |||
BB: Obviously, you know more about this than I do...I cannot remember the order in which I asked the musicians to play on the album. I didn't think Allan's invitation to join us was "a last minute decision", other than the fact that everything in the music business is a last minute decision.. | |||
4) That first collaboration was convincing enough for you to ask Allan to join you in UK. That band had a complex genesis: first the trio with John Wetton and Rick Wakeman, then the aborted King Crimson reformation which Robert Fripp declined, supposedly because he didn't want to play with Eddie Jobson; then a trio named Alaska, which became UK after Allan joined (please correct me if any of this is inaccurate). Since it was really your decision to bring Allan into the band, what did you think he could contribute to the project: his impressive and innovative playing style? His jazzier background and harmonic sophistication? | |||
BB: You make the complex genesis sound too organised. There were of course a number of suggestions and alliances and possibilities, some no more than an idea in a phone call, some no more than an idea in somebody's mind, and some that actually got as far as a rehearsal room. My recollection is that John Wetton and I had a discussion in a hotel room somewhere, during which he proposed we ask Eddie Jobson, then with Frank Zappa, to do something. Sensing, correctly as it turned out, this would drive too far in the pop direction for my taste, I counterbalanced that idea with the idea of hiring Allan, to act as a counterweight to Eddie. Essentially two guys of a pop / rock sensibility, balanced by two of the jazz persuasion. So long as the ship stayed upright, and didn't tip over, I thought, it would be bound for an interesting journey. | |||
5) A couple of tracks on the UK album were co-written by Allan ("Nevermore" and "Mental Medication"). Was that a real collaboration or were some of Allan's ideas integrated into a collective "patchwork"? | |||
BB: What's the difference? If your ideas get used in the finished piece, you receive publishing credits, and are deemed to have "collaborated" with your colleagues. Allan's ideas are a substantial part of both those compositions. | |||
6) Looking back, why do you think the UK/Allan Holdsworth partnership ultimately didn't work out? Because John and Eddie were only interested in one aspect of Allan's talent? Because Allan couldn't adapt or relate to the band's musical approach (too much structure, too little room for improvisation)? | |||
BB: Allan's talent is astronomic, but is not easy to include in the most patient and subtle of organisations, let alone a major rock-group behind which there was a record company rocket, and of which everyone expected immediate success. Allan was, as I remember, immediately unhappy, but then he is always immediately unhappy, usually about every aspect of the musical circumstances in which he finds himself, but most particularly with his own performance. This can be wearing on collective morale. After a spectacular night at Penn's Landing in Philadelphia in front of a 50,000 crowd, John announced to me that he and Eddie were going to take the thing in a more pop direction, of which Allan would not be a part, and did I want to continue with them? I declined, and said I would continue my own thing with Allan. | |||
7) In early 1979 you recorded the "One Of A Kind" album with the same line-up as "Feels..." but this time as an integrated band, with absolutely amazing results. That particular combination of musicians worked incredibly well, and although Allan left after the British tour, this band gave him the opportunity to express the full extent of his enormous talent. In your opinion, was this because the music had been written and/or arranged with Allan in mind (unlike the music on "Feels Good To Me»?), and/or because the chemistry between Allan, Dave Stewart, Jeff Berlin and yourself provided him with the right musical and sonic setting? What are your most vivid memories of working with Allan on this album? Was his well-known perfectionism sometimes a hindrance? | |||
BB: My memory with Allan, as always, was that he was unhappy---the complaint was, I think, that he was boxed in by the compositions, and he was probably right. I wrote too much and didn't leave enough space. This indicates a lack of trust, as if somehow I could not rely upon the musicians to come up with strong improvised material on the spot. That's partly true, and these studios get very expensive very quickly. I "directed" Allan as a movie director might direct a movie-star, and he didn't like that much. Plus, the clock was ticking. | |||
8) What did you mean to convey with the title "One Of A Kind»? Just sounds nice. | |||
9) Do you have specific memories of recording the title "Fainting In Coils", which is my personal favourite, in particular with respect to Allan's playing? | |||
BB: None. I was producing as well, so the pressure was pretty intense. On those record, my own playing was like an afterthought. I just worried about everyone else, and would they show up tomorrow. | |||
10) Lastly, have you listened to many of Allan's solo albums and what do you think of them and Allan's evolution as a player, composer, etc., since the days when you worked together? | |||
BB: I've always loved Allan's playing--the whole thing--although I see why some people find it all a bit indigestible. He's taken the guitar trio format a long way, and personally I'd love to hear his music opened up for a larger ensemble. Claire Fischer could do the orchestrations. | |||
Found here: https://billbruford.com/wp-content/uploads/2017/10/interviews_2005_on_allan_holdsworth.pdf | |||
==IO Pages, Nov 2007== | |||
Was Allan Holdsworth the soulmate you needed to introduce jazz within mainstream? | |||
BB: Well, Allan was not only my favourite guitarist, but it was screamingly obvious that the | |||
Americans had never heard anything like him, a fact subsequently picked up on by Eddie Van | |||
Halen, Al Di Miola and others. I was just lucky to have the right vehicle available at the right | |||
time for him to do his thing. | |||
==[[No Rearview Mirrors (20th Century Guitar 2007)]]== | |||
'''Bill''' Bruford on Allan Holdsworth and Rock Goes to College
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TCG: Your CD and DVD release of Rock Goes T. College seems like good timing to speak with you about the 30th anniversary of the Bruford band, were you planning to make RGTC a 30th anniversary CD/DVD?
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BB: Not really, getting stuff from the | |||
BBC is very difficult and expensive. We were just trying to make the numbers work and everybody could enjoy it. But it cost a lot of money to get that stuff from the | |||
BBC. They do a very good job so they’re worth it.
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TCG: Can you reflect back on working with Allan Holdsworth and all the great players in your group between ‘77-79?
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BB: Just going back to the time, I was figuring what I wanted to do after I left Genesis in ‘76- ‘77 was start my own recording career. To do that you need to call some people, I found Jeff Berlin in Long Island where he was living. And I knew I wanted Allan Holdsworth. With Allan, you needed a bass player who could keep up. Against those two, you really needed a steady keyboard player who wasn’t going to be a soloist so much. So Dave Stewart was the obvious keyboard choice for this thing. That was the core group, but we also added a jazz flugelhorn player here called Kenny Wheeler and Annette Peacock, who was Gary Peacock’s wife, the bass player with DeJohnette. She was residing here in the U.K. at the time. So it was kind of a cool quartet with guests really. It was great. We hit if off right from the start. Allan was terrific. Around that time, America was pretty unfamiliar with Allan in the late ‘70s. We knew him here. And in a way, that was the bridge for Allan between the U.K. and the United States,
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TCG: You wrote some cool liner notices for Rock Goes To College where you say, "what we could do with that group now!" Can you speculate what might have been the next step with the Feels Good To Me lineup with Allan Holdsworth?
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BB: They were big albums and they’re much talked about these days. It was great. I think that the comment in the liner notes is kind of facile probably. These things do have a moment in time when they are relevant. They were relevant in ‘77, ‘78 and ‘79 with U.K. and that band Bruford and everything. That was its period. By 1980 I was back in Crimson doing like electric world music. That was fine and that’s the way it should be.
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TCG: Allan Holdsworth left after the Rock Goes To College show from March 7th, 1979. I saw Bruford play at My Father’s Place in July 1979 and we were surprised that Allan wasn’t playing guitar with you anymore!
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BB: Yeah, I was surprised Allan wasn’t with me! When you get to know Allan, you get to know, he’s a free spirit. Sometimes he comes and sometimes he doesn’t.
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TCG: Is there any reason why you don’t work with guitar players much these days?
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BB: I moved literally from electric rock to acoustic jazz, play pertly much acoustic jazz full time now with pianos, saxophones and basses. Any reason? No, not particularly. I’m more interested in people then the instruments they play. The people I want to play with right now play pianos and saxophones and basses. But hey, I spent a lot of time with guitarists, its nice to have a change.
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TCG: So there’s no chance of a reunion with the Rock Goes R. College lineup’? | |||
BB: No, there’s no chance of that Robert. There’s no more material with that band available! (laughter) I’m not sitting on boxes of material that was never released.
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TCG: So will there be any more vintage material on your Winterfold label?
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BB: I’m not sure, you just have to wait and see, as I will, I’ve probably said everything I can about Rock Goes to College, I really liked it. I loved the band. I loved being the leader of the band. I consider it a privilege to have worked with those people at that time. And of course it was my first effort, to compose music that would attract these people. To give them something to play. It’s not easy to find something for somebody as good as Allan Holdsworth to play. You had to think like a guitar player, which I wasn’t really doing. You need to under write because Allan’s going to fill for much and that’s what you want to hear. And of course, lover wrote everything. So, in a way when he got pissed off at being boxed in by the music, I think he was probably right to feel that way. In a way, I did nail him to the ground a bit, but on the other hand he was used sparingly but to devastating effect. | |||
=ALLAN ON BILL= | =ALLAN ON BILL= | ||
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Over the next few years Holdsworth recorded on several albums, including drummer '''Bill''' Bruford’s first solo LP Feels Good To Me, and Jean-Luc Ponty’s Enigmatic Ocean. By this point touted primarily as a soloist, Holdsworth found himself trapped into a one-dimensional mode, feeling he had more to offer than just flashy embellishment to other people’s songs. | Over the next few years Holdsworth recorded on several albums, including drummer '''Bill''' Bruford’s first solo LP Feels Good To Me, and Jean-Luc Ponty’s Enigmatic Ocean. By this point touted primarily as a soloist, Holdsworth found himself trapped into a one-dimensional mode, feeling he had more to offer than just flashy embellishment to other people’s songs. | ||
How did you happen to play with '''Bill''' Bruford?
'''Bill''' asked me if I would play on his album, Feels Good To Me. Afterwards, I started to really get sick of soloing. I couldn’t stand it any longer, so I just killed myself with alcohol. When '''Bill''' asked me to work on his second album, One Of A Kind, I expected things to be different, especially since he had Jeff Berlin on bass. Jeff’s a very good player. | How did you happen to play with '''Bill''' Bruford?
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'''Bill''' asked me if I would play on his album, Feels Good To Me. Afterwards, I started to really get sick of soloing. I couldn’t stand it any longer, so I just killed myself with alcohol. When '''Bill''' asked me to work on his second album, One Of A Kind, I expected things to be different, especially since he had Jeff Berlin on bass. Jeff’s a very good player. | |||
Had things become better?
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Not much. With '''Bill''' and U.K. the rehearsals had almost nothing to do with what ultimately went on the records. We just played bits and pieces of songs, and they would shake them up and record them. Then we had to try to reproduce those parts live. And I just don’t feel at home doing that. I’d ‘rather play something first, and then record it. Now, I’m not against overdubbing - it’s great. It’s nice to embellish things, but I think that the important things should go down on the tracks so that when you play the songs onstage, nine times out of ten they’ll sound better. With U.K., particularly, we had millions of overdubs, and then we had to try to decide who could play what parts live because one guy doesn’t have four hands, and so on. Again it comes back to the magical quality of interplay between band members. | |||
How did U.K. form?
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'''Bill''' said that he had an idea of working with [keyboardist] Eddie Johnson and [bassist] John Wetton. He asked me if I would like to go to a rehearsal and play. I agreed, and it looked promising. But the closer we came to recording, the more sterile the music sounded. Just before I left the band, I used to daydream an awful lot while we were playing all those bits onstage; you know, thinking about a nice pint of beer or something. I was easily distracted. And because I couldn’t associate all those bits - they didn’t form any kind of cohesive picture in my mind - I wouldn’t know if it was tune three or tune six or what. | |||
What kind of amps are you using now? | |||
I had Marshalls all the way up through U.K. and with '''Bill''' Bruford. Since then, I’ve gotten two [Norlin] Lab Series amps and a British amp called a Hartley-Thompson. The trouble with the Marshalls was that they only gave a suitable sound for single-note solo stuff. They always distorted the chords; if I wanted to get a clean sound for chords, I had to push the amps too hard. I often ended up with a horrible square-wave, fuzzbox sound. | |||
==[[Holdsworth & Co. A New Side Of Allan’s Music. (Guitar 1980)]]== | ==[[Holdsworth & Co. A New Side Of Allan’s Music. (Guitar 1980)]]== | ||
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==[[Mike Pachelli Show (video transcript 1991)]]== | ==[[Mike Pachelli Show (video transcript 1991)]]== | ||
MP: And you also got to work with some great bands, Gong, Jean-Luc Ponty, and '''Bill'''y Bruford, how’d all that come about? | MP: And you also got to work with some great bands, Gong, Jean-Luc Ponty, and '''Bill'''y Bruford, how’d all that come about?
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AH: Well '''Bill''' used to hang out at some of the local jazz gig in London – I think he saw us maybe doing that, I’m not exactly sure, and then we made contact and I guess that thing started and then he was doing a solo album and after that he was involved with UK and he suggested to them if they needed a guitar player they might ask me so…so that’s how that happened. | |||
MP: And did I read this correctly, that you and Bruford were actually dismissed from the band? | MP: And did I read this correctly, that you and Bruford were actually dismissed from the band?
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AH: Yeah we were fired!
MP: Why was that?
AH: We were fired by the management but basically it wasn’t the management, I think, I saw that band was essentially as being Eddie’s band, because he was the most involved with the writing of it, and it really was his thing I think, I don’t know, it was kind of getting out. It wouldn’t have worked - I mean If '''Bill''', I’m sure '''Bill''' would have left on his own anyway, but I was sure wouldn’t been able to take it anymore so it was like, being fired was pretty OK – but they were great guys, I really liked all of the guys, good, great musicians - I enjoyed it at the time, well I enjoyed making the record but doing the gigs was hell, but other than that yeah… | |||
==[[Creating Imaginary Backdrops (Innerviews 1993)]]== | ==[[Creating Imaginary Backdrops (Innerviews 1993)]]== | ||
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Allan: Yeah, it was. I think if it hadn’t been for the U.K. experience I might’ve stayed with '''Bill''' a little bit longer because I really enjoyed playing with him. But with U.K. it was kind of uncomfortable because we had such different tastes in music. All of the guys were great guys, it wasn’t like a personal issue at all. We got along really well. It’s just that (bassist) John (Wetton) and (keyboardist) Eddy (Jobson) were of one mind musically and '''Bill''' and I were of another. And then when I started working with Gary Husband...I had just been introduced to him and played with a couple of times and I thought, ‘Oh man! I wanna play with THIS guy.’ So I decided to form my own band and that’s what cut short the '''Bill''' thing. | Allan: Yeah, it was. I think if it hadn’t been for the U.K. experience I might’ve stayed with '''Bill''' a little bit longer because I really enjoyed playing with him. But with U.K. it was kind of uncomfortable because we had such different tastes in music. All of the guys were great guys, it wasn’t like a personal issue at all. We got along really well. It’s just that (bassist) John (Wetton) and (keyboardist) Eddy (Jobson) were of one mind musically and '''Bill''' and I were of another. And then when I started working with Gary Husband...I had just been introduced to him and played with a couple of times and I thought, ‘Oh man! I wanna play with THIS guy.’ So I decided to form my own band and that’s what cut short the '''Bill''' thing. | ||
==[[Allan Holdsworth (Sound Waves 2012)]]== | ==[[Allan Holdsworth (Sound Waves 2012)]]== | ||
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R.V.B. - In the late 70’s you hooked up with guys like Jean Luc Ponty and Tony Williams. Things are starting to happen now. Was that a natural process to lead you to finally going out on your own and leading your own project?
A.H. - I loved working with Jean Luc and I loved working with Tony Williams. I got to a point where I just wanted to play my own music. It was a logical step to form a group of my own with Gary Husband and Paul Carmichael. We did that for a while and then I left the UK. I worked with '''Bill''' Bruford, which was great. | R.V.B. - In the late 70’s you hooked up with guys like Jean Luc Ponty and Tony Williams. Things are starting to happen now. Was that a natural process to lead you to finally going out on your own and leading your own project?
A.H. - I loved working with Jean Luc and I loved working with Tony Williams. I got to a point where I just wanted to play my own music. It was a logical step to form a group of my own with Gary Husband and Paul Carmichael. We did that for a while and then I left the UK. I worked with '''Bill''' Bruford, which was great. | ||
=Links= | |||
Also see https://www.elephant-talk.com/wiki/November_1980_interview_with_Bill_Bruford | |||
