Drum legend Bill Bruford on his ups and downs with Yes and King Crimson, making the jump to jazz with Earthworks, life after retirement, and more
, and I just found all that so much more exciting. I could understand right away what the drummer was doing. And I have trouble to this day with the repetition in popular music, and the sort of lack of interaction within so-called rock or pop as opposed to jazz. So I instantly sort of preferred the one.
And one of the things a lot of people miss about Yes, I think, is that it was just a covers band. And we started out just doing covers of lots of songs of the day, bigprobably. And we learned to play those; we didn’t have a shared repertoire. A lot of the bands — like, say, Black Sabbath or something like that — came from the same street in Birmingham, or from Detroit, or somewhere. And we weren’t like that at all; we came from all different cultures and parts of the U.K.
It seems like such a mature decision for someone that young. Was there no part of you that was thinking about money and security rather than art? Well, if you were looking for a change, it seems like there could be nothing further from watching Chris Squire slowly turn knobs in the studio at 3 a.m. than being onstage with someone like King Crimson percussionist Jamie Muir.
And King Crimson is more of a laboratory in that sense, I think, of what it’s possible to do within rock, and how might rock sound in the future, and when is rock not rock and where is the boundary of any of this, and so on and so forth. So it appealed to my conceptual side, King Crimson. I’ve liked the conceptual side of drumming and the conceptual side and purpose of being a musician far more than anything to do with the nuts and bolts of drumming.
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