Paul Myers “Bill Bruford: The Yes Man Cometh”

そこでは、Bill Brufordが60歳になったのを機に「引退」を宣言したこと、また自伝Bill Bruford: The Autobiographyを出版したことが書かれていた。

 イエスキング・クリムゾン、U.K.、ジェネシス(ツアー・サポート)などのトップ・グループを渡り歩き、多くの名演奏を披露してきた、イギリス出身の精鋭ドラマー、ビル・ブラッフォードBill Bruford)。ロック/ジャズ界で幅広く活躍してきたビルが、2009年1月1日をもってライヴ活動からの引退を宣言。自身の公式サイト*1にて1月26日に声明を発表しています。

 声明では詳しく述べられていませんが、ビルが一部海外メディアに伝えたことによれば、今回の決定はあくまでもライヴ活動からの引退であって、レコーディングは続けていくとのこと。今夏にはイギリス人作曲家Colin Rileyとのアルバムを発表する計画もあるようです。

 また、2月にベスト・コレクション・アルバムが発売されるビル主宰レーベル、Winterfold RecordsとSummerfold Recordsの運営も継続するようで、さらに3月には自叙伝「Bill Bruford: The Autobiography」の出版も予定されています。


Bill retires from public performance
Posted by Sid: Monday, 26th January,2009

After 41 years of moving the percussive pulse in music and raising people's pulses in general, Bill Bruford has announced his retirement from public performance, effective from January 1st 2009.

Bill's contribution to music is celebrated by the release of two new anthologies covering his solo career.

という記事あり。” retirement from public performance”なので、レコーディング活動は続けるということなのだろう。

I’ve been sensationally into jazz for about 20 years,” Bruford confesses, right from the get-go, “and therefore my knowledge of rock music is very slim, and you’re about to find out how slim it is in a minute when you ask me about new prog groups, which I’m not going to know the names of.”

In his book, Bruford admits that even when forging the frontiers of rock music, he always found the jazz aesthetic “enormously appealing.”

“I was born and raised with jazz,” he declares. “It’s what I thought I was going to do. I loved that whole thing of finding your own voice, or a group finding its whole voice, as King Crimson defined its own kind of noise and space to play in. Much of that was modeled on the John Coltrane quartet kind of thing. And I became known as a kind of a ‘group hopper.’ I was in and out of about five bands in about what seemed like 10 years—with Yes and Gong and Genesis and UK and King Crimson. I didn’t realize it at the time, but I was exhibiting the characteristics of a jazz musician, looking for other things to do, or other ways of playing close to the edge, if you like. Which is not easy, trust me.”

原文でもイタリックになっているclose to the edgeはイエスのアルバム、Close to the Edge*2に引っかけたもの。後半で、Close to the Edgeのレコーディング、そしてその後のイエス脱退についての言及がある。



“It was great,” he enthuses audibly. “It was my favorite King Crimson, ’80 to ’84, I loved everything about it. Robert had been hanging out in New York a lot with people like Debbie Harry, Laurie Anderson, Peter Gabriel, and Daryl Hall. There were a lot of new things in the air in 1980, great time. People were talking about ‘village music,’ we didn’t really talk about ‘world music’ yet, we were just beginning to figure out what the Balinese did and how Steve Reich had accommodated that and we’d heard Talking Heads and things. Then there was, ‘Hey, I’ve got a guitar synthesizer, what the hell is that?’ And Tony had the [Chapman] Stick [bass] and I had electronic drums and boobams. We had a ton of stuff to do. We constructed this sort of minimalist villagey electro thing.”

Originally, the band did shows under the group name Discipline, before Fripp and the band realized that they were, in fact, the true ’80s reincarnation of King Crimson itself, and thus named the “comeback” album Discipline.

“I think it took the audience a bit by surprise,” Bruford remembers with hindsight. “I know it took us by surprise. I credit Robert entirely with that sort of blueprint for a group; it was one of his finest moments.”

Discipline: 30th Anniversary Edition

Discipline: 30th Anniversary Edition

Close to the Edgeだが、Nice(キース・エマーソン)の”Knife Edge”とのインターテクスチュアルな関係について、巽孝之プログレッシヴ・ロックの哲学』で言及があったかどうかは忘れた。
プログレッシヴ・ロックの哲学 (Serie′aube′)

プログレッシヴ・ロックの哲学 (Serie′aube′)