Recommendations of the Editorial team
From the end of the 1960s to his retirement in 2009, Bill Breford played progressive rock in stadiums, jazz in small clubs and almost everything in between. In one Conversation with Rolling Stone He casually mentioned that he would like to put together a list of his favorite pieces from his extensive discography. Not only to highlight his contributions. But the music as a whole. We invited him to do exactly that. Here are the results with its own comments.
The pieces selected here range from the acoustic, analogous, computer -free seventies to the electronic, digital, computer -based 2000s. Four exciting decades behind the drums. The selection was based on each: did I do something that I didn’t do yesterday? Or: Did I play something that I had never heard? It was unimportant whether someone else may did it elsewhere.
YES – “And You And I” (1972)
“Here (7: 11–8: 20) we sit in the groove: I am clearly behind the beat. I like to play this passage when I want to remember good times with the band. Before the era of automation and click track, the music simply breathed more.”
King Crimson – “One More Red Nightmare” (1974)
“The two-stroke breaks are fun. Especially the break at 1:16 with the meaningful break at the end, and at 1:24 with the increasingly quieter approach-they always make me smile.”
UK – “In the Dead of Night” (1976)
“The 7/4 groove from 2:57 is strong and repetitive, does not develop, but works perfectly as a stage for Allan Holdsworth’s Legendäles guitar solo-94 seconds liquid passion paired with unbelievable technology. I could not resist, install a ratchet on every third count. A great day in the studio.”
Breford – “one of a child, pt. 2” (1979)
“The interaction of the band is bubbling for a while and then develops properly at 1:13. Jeff Berlin is deep in the machine room.”
King Crimson – “Waiting Man” (1980)
“The first half consists of only six analog Simmons drums, bright and airy. Adrian Belew complements me in harmony. The lack of a bass drum rather floats instead of being anchored on the ground. Who says that drums cannot play melodies?”
David Torn – “Previous Man” (1984)
“At 3:45 I play a short solo with tinted electronic drums, connected to a Yamaha keyboard via Midi-recorded in the holy halls of ECM Records! I like the conversation between hard, tuned drum phrases and small acoustic percussion. Only one take, with only four available tones.”
Earthworks – “Stromboli Kicks” (1987)
“Digital drum systems have now been able to distribute chords and numerous samples on pads. Two highlights: The song begins with three different drum kits-change at: 17 and: 37-tricky but more feasible.
King Crimson – “B’Boom” (1995)
“The title alludes to Max Roach’s group M’Boom. With Pat Mastelotto, I developed complex meters: from: 56 brings Pat a 3/4 pattern, through which I lay a wide variety of tact types until we arrive synchronously at 2:30. Pure joy of play.”
Pete Lockett’s Network of Sparks – “Prism” (1999)
“Perfect orchestrated percussion ensemble with plenty of space for improvisation. A personal favorite: at: 54 The pitch of my Meazzi pitch-change floor tom, at the same time the pace accelerates-unusual for a drum set.”
Earthworks – “Revel Without A Pause” (2000)
“The solo at 5:30 on a normal acoustic set-but with ‘false’ arrangement of the drums-over a 5/4 Vamp. I lively remember how I thought when playing: ‘Where does that come from now?’ Suitable for the album title. “
Bruford & Michiel Borstlap – “The 16 Kingdoms of the 5 Barbarians” (2004)
“Duo with buttons and drums – lots of space, but also a lot of risk. The piece is completely improvised, but looks like composed. Yes would have needed months to work out something like this in the rehearsal room.”
Breford & Tim Garland – “Footloose and Fancy Free” (2005)
“After ‘The Sound of Surprise’ there were only live recordings. This nine-man ensemble in a New York club was a challenge. The quality of the musicians was terrifyingly high, hardly time to rehearse. I was difficult-but this piece is irresistible.”