“I don’t want to be bored. I haven’t got time to be bored. If I ever
bore myself consistently for a year, I’ll give up being a musician. I
would lose my self-confidence—the feeling that I really do have
something to give.” It’s no surprise to read that comment from Bill
Bruford, one of the most prolific, thought-provoking, and downright
creative drummers ever to pick up sticks.
Bruford has spent most of his playing career on a never-ending quest
for new musical vistas. Thrilling audiences occasionally with
over-the-top playing, but more importantly with brilliant, revolutionary
new directions in drumming, Bruford is as intriguing to his fans today
as he was forty years ago, when he first came to prominence as the
drummer in progressive rock’s most famous group, Yes.
This constant quest makes Bruford’s playing a bit hard to pigeonhole.
Is he a rock drummer? Well, his precise and innovative work with Yes
might give you that impression. But maybe it’s more accurate to call him
an avant-garde drummer: His groundbreaking, left-of-the-dial creations
with King Crimson would certainly support that idea. But then there was a
period in the ’80s when Bruford, using a supercharged electronic
drumkit, simultaneously provided the melody and rhythm for his own
group, Earthworks, suggesting more of a tuned percussionist’s role. And
his recent work in Earthworks is undoubtedly that of an acoustic-loving
jazz drummer–with a twist, of course.
Bruford released his much buzzed about autobiography in 2009, and
“officially” retired from performing, though one hopes the decision
isn’t final. There’s no other living drummer quite like him.
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