Bill Bruford - 2005 Bill Bruford Japan Mini LP CD x 4 titles + Promo Box

Feels Good to Me is the first solo studio album by former Yes and King Crimson drummer Bill Bruford. The band Bruford grew out of the line-up assembled for this album. The album features guitarist Allan Holdsworth, bassist Jeff Berlin, keyboardist Dave Stewart, and ECM stalwart Kenny Wheeler on fluegelhorn. Bruford also enlisted singer-songwriter Annette Peacock (who performs two of Bruford's lyrics, and contributes one of her own) and Brand X guitarist John Goodsall (who plays rhythm on the title track only). Dave Stewart was a pivotal figure in the music of the Canterbury scene with groups like Egg, Hatfield and the North and National Health, but despite his strong playing (and co-writing) presence, the album does not sound much like the Canterbury bands, and is instead closer to contemporaries Brand X (whose keyboardist Robin Lumley co-produced the album with Bill Bruford).

Track listing

All tracks are written by Bill Bruford, except where noted.

1. "Beelzebub" 3:16

2. "Back to the Beginning" 7:09

3. "Seems Like a Lifetime Ago (Part One)" 2:30

4. "Seems Like a Lifetime Ago (Part Two)" 4:25

5. "Sample and Hold"

BrufordDave Stewart

5:12

6. "Feels Good to Me" 3:49

7. "Either End of August" 5:27

8. "If You Can't Stand the Heat..."

BrufordStewart

3:20

9. "Springtime in Siberia"

BrufordStewart

2:43

10. "Adios a la pasada (Goodbye to the Past)"

BrufordAnnette Peacock

7:55

2005 remaster bonus track

11. "Joe Frazier" (live) Jeff Berlin 4:39

Personnel

Bill Bruford – drums, percussion, vocals (2)

Allan Holdsworth – electric guitar

Dave Stewart – keyboards

Jeff Berlin – bass

with

Kenny Wheeler – flugelhorn (on tracks 3, 7, 9)

Annette Peacock – lead vocals (2, 3, 10)

John Goodsall – rhythm guitar (6)

One of a Kind is the second solo album by the drummer Bill Bruford, and the first proper album by his band Bruford. Released in 1979 on EG Records, it is a collection of instrumentals in a style that can loosely be defined as jazz rock. Bruford features guitarist Allan Holdsworth, bassist Jeff Berlin, and keyboardist Dave Stewart. "Forever Until Sunday" and "The Sahara of Snow" had originally been performed at 1978 concerts by Bruford and Holdsworth’s previous band U.K. They were intended for a studio album, but were never properly recorded by U.K. as Bruford kept the pieces for himself when he and Holdsworth exited the band. U.K. bandmate Eddie Jobson co-wrote "The Sahara of Snow" and reprises his violin part on "Forever Until Sunday". Stewart's "Hell's Bells" utilizes a fragment penned by his former National Health colleague Alan Gowen (the 3-chord pattern underlying the guitar solo). Holdsworth's "The Abingdon Chasp" is the only piece he wrote for Bruford.

Track listing

Side one

No. Title Writer(s) Length

1. "Hell's Bells"

Dave StewartAlan Gowen

3:32

2. "One of a Kind, Pt. 1" Bill Bruford 2:20

3. "One of a Kind, Pt. 2"

BrufordStewart

4:00

4. "Travels with Myself – And Someone Else" Bruford 6:10

5. "Fainting in Coils" Bruford 6:33

6. "Five G"

Jeff BerlinBrufordStewart

4:41

7. "The Abingdon Chasp" Allan Holdsworth 4:50

8. "Forever Until Sunday" Bruford 5:46

9. "The Sahara of Snow, Pt. 1" Bruford 5:18

10. "The Sahara of Snow, Pt. 2"

BrufordEddie Jobson

3:23

2005 remaster bonus track

11. "Manacles" (live 1979)

BrufordStewart

7:25

Personnel

Allan Holdsworth – electric guitar, acoustic guitar (midsection of "The Abingdon Chasp")

Dave Stewart – keyboards, synthesizers, electronics

Jeff Berlin – bass guitar

Bill Bruford – drums & percussions, voice of the Mock Turtle (intro to "Fainting in Coils")

with

Eddie Jobson – violin ("Forever Until Sunday")

Anthea Norman Taylor – voice of Alice (intro to "Fainting in Coils")

Sam Alder – narrator (intro to "Fainting in Coils")

John Clark – electric guitar ("Manacles")

Gradually Going Tornado is the third and final studio album by Bruford. It was co-produced by Bruford and Ron Malo, the latter known from his work with Weather Report. The music on the album leans closer to progressive rock than the jazz fusion oriented sound of the band’s previous albums. More of Bruford's lyrics are featured as well, for the first time sung by bassist Jeff Berlin. "Land's End" incorporates music keyboardist Dave Stewart had previously composed for the National Health album Of Queues and Cures (1978). Guitarist Allan Holdsworth left the group before recording began, and recommended John Clark as his replacement. Clark was listed as “the Unknown John Clark” on the album sleeve as part of a running joke highlighting his obscurity in comparison to Holdsworth.

The title of the album was taken from the British-based Romanian artist Paul Neagu who did a performance under the name "Gradually Going Tornado" in London in 1974. Neagu created the album's cover art.

Track listing

No. Title Writer(s) Length

1. "Age Of Information" Bill Bruford, Dave Stewart 4:41

2. "Gothic 17" Bruford, Stewart 5:07

3. "Joe Frazier" Jeff Berlin 4:41

4. "Q.E.D." Bruford, Stewart 7:46

5. "The Sliding Floor" Bruford, Stewart, Berlin 4:58

6. "Palewell Park" Bruford 3:57

7. "Plans For J.D." Bruford 3:50

8. "Land's End" Stewart 10:20

2005 remaster bonus track

No. Title Writer(s) Length

9. "5g" (Live) Bruford, Stewart, Berlin 7:21

Personnel

Dave Stewart – keyboards, synthesizers

John Clark – electric guitar

Jeff Berlin – bass guitar, lead vocals

Bill Bruford – drums

Guests:

Georgie Born – cello (“Gothic 17”)

Amanda Parsons, Barbara Gaskin – backing vocals (“Land’s End”)

The Bruford Tapes is a live 1979 album by the British band Bruford, only issued in the United States, Canada and Japan. It was recorded on July 12, 1979 in Roslyn, New York State and originally broadcast on WLIR radio. Shortly before the tour, guitarist Allan Holdsworth left the band and was replaced by his student John Clark (appearing as "the unknown John Clark" on the album sleeve), who had played with the prog group Quasar. The show features extended performances of material from the group's previous two albums Feels Good to Me and One of a Kind.

Track listing

No. Title Writer(s) Length

1. "Hells Bells" Dave Stewart, Alan Gowen 4:02

2. "Sample And Hold" Bill Bruford, Stewart 6:18

3. "Fainting In Coils" Bruford 6:34

4. "Travels With Myself - And Someone Else" Bruford 4:37

5. "Beelzebub" Bruford 3:28

6. "The Sahara Of Snow (Part One)" Bruford 4:46

7. "The Sahara Of Snow (Part Two)" Bruford, Eddie Jobson 3:07

8. "One Of A Kind (Part Two)" Bruford, Stewart 8:06

9. "5g" Bruford, Stewart, Jeff Berlin 2:39

2005 remaster bonus track

10. "The Age Of Information" Bruford, Stewart

 

Personnel

Bill Bruford – drums & percussions

Dave Stewart – electric piano, synthesizer, electronics

Jeff Berlin – bass guitar, vocal on 10

John Clark – electric guitar

King Crimson - 1975 [1990] "A Young Person's Guide to King Crimson"

A Young Person's Guide to King Crimson is a 2-LP compilation album by English progressive rock band King Crimson, released in 1976. At the time of release, the band had been disbanded for nearly two years. Guitarist Robert Fripp selected the tracks for inclusion.

Its name is most likely derived either from the famous orchestral work The Young Person's Guide to the Orchestra by composer Benjamin Britten or the 1960s television series Young Person's Guide to the Orchestra, created by conductor/composer Leonard Bernstein.

The gatefold sleeve featured artwork by Scottish artist Fergus Hall, with the front cover being The Landscape Player and the back cover being Earth. Included as part of the package was a booklet, replete with photographs, and detailing gig history and notable events; this was compiled by Robert Fripp from his own archive. The only studio album not represented is Lizard (1970).

To date, its sole CD release has been in Japan, in 1990. This 2-CD set, which faithfully duplicated the vinyl running order, included a reproduction of the booklet, scaled-down. Playing times are approximately 40 minutes long for CD1 and 35 minutes for CD2.

For almost two decades before King Crimson's catalog became a minefield of odd retrospectives, live oddities, and archival treasure troves, A Young Person's Guide to King Crimson was the only worthwhile retrospective the band had ever had -- or seemed likely to receive. Originally released in 1976 following the band's apparently irrevocable split of the year before, this Robert Fripp-compiled double album rounded up an excellent, if somewhat idiosyncratic, survey of the group's seven years together, its contents ranging from the unimpeachable classics to unimaginable rarities -- the pre-Crimson demo of "I Talk to the Wind" was a collector's dream at the time, while the presence of "Groon" took the heat off anyone who missed out on its sole previous appearance, as the B-side of 1970's "Cat Food" single. Of the other tracks, three-fifths of the debut album included the anthemic poles of "21st Century Schizoid Man" and "Epitaph," and served to remind just how powerful In the Court of the Crimson King was on release, while more recent highlights included both "Red" and "Starless" from the band's final album (Red), Starless and Bible Black's eternally atmospheric "The Night Watch," and, as if to prove that the band's sense of humor was never far from the surface, the ribald saga of "Ladies of the Road." A vast booklet of facts and figures, again compiled by Fripp and drawing from his own squirrel-like horde of King Crimson memorabilia, rounded off the package. It's a sign of just how well conceived this collection was that, no matter how many more so-called "best-ofs" the band has endured, A Young Person's Guide remains the definitive study of the original King Crimson.

Track listing:

CD 1

Epitaph (8:52)

March For No Reason

Tomorrow And Tomorrow

Cadence & Cascade 3:36

Ladies Of The Road 5:27

I Talk To The Wind (Previously Unreleased Version) 3:15

Red 6:18

Starless 12:17

CD 2

The Night Watch 4:38

Book Of Saturday 2:52

Peace - A Theme 1:14

Cat Food 2:43

Groon 3:30

Coda From Larks' Tongues In Aspic, Part I 2:09

Moonchild (2:24)

The Dream

The Illusion

Trio 5:36

In The Court Of The Crimson King (9:21)

The Return Of The Fire Witch

The Dance Of The Puppets

Personnel:

- Bill Bruford / drums, percussion (5, 6, 7, 12 & 14)

- Boz Burrell / bass, vocals (3)

- Mel Collins / saxes, flute (2, 3 & 6)

- David Cross / violin (7, 8 & 14) viola & voice (12)

- Judy Dyble / vocals (4)

- Robert Fripp / guitars, mellotron, devices (all)

- Michael Giles / drums, percussion, backing vocals (1, 2, 4, 10, 11, 13 & 15)

- Peter Giles / bass (4, 10 & 11)

- Gordon Haskell / vocals (2)

- Greg Lake / bass, vocals (1, 10, 13 & 15)

- Ian McDonald / woodwinds, reeds, keyboards, mellotron, vocals (1, 4, 6, 13 & 15)

- Robin Miller / oboe (6)

- Jamie Muir / percussion, voice (12)

- Peter Sinfield / words (1, 2 & 15)

- Keith Tippett / piano (2 & 10)

- Ian Wallace / drums (3)

- John Wetton / bass, vocals (5, 6, 7, 8, 12 & 14)

Wayne Shorter - 1974 [2023] "Moto Grosso Feio"

Moto Grosso Feio is the thirteenth album by Wayne Shorter, recorded in 1970 but not released on the Blue Note label until 1974. The album features four originals by Shorter and an arrangement of "Vera Cruz" by Milton Nascimento. Some of the musicians include guitarist John McLaughlin, bassist/cellist Ron Carter, bassist Dave Holland, and drummers Jack DeJohnette and Micheline Pelzer.

When delving into the expansive and storied discography of Wayne Shorter, “Moto Grosso Feio,” released in 1974, stands out as one of the most enigmatic entries. Here is an album that, while remaining true to Shorter’s reputation for innovation and exploration, veers off into terrain less traveled, even by his adventurous standards.

From the onset, “Moto Grosso Feio” invites the listener into a universe distinctly different from Shorter’s earlier works. If one were expecting a linear continuation from his previous efforts with Weather Report or even his solo albums of the ’60s, they’d quickly realize this was a departure. This isn’t to suggest a disconnection from his past but rather a bold foray into new realms.

The album’s title track, “Moto Grosso Feio,” which translates from Portuguese as “big ugly motor,” serves as an appropriate metaphor for the music’s engine: gritty, relentless, and evoking imagery of industrial landscapes and mechanized processes. It’s a sprawling epic of a track that unfolds over 12 minutes, where Shorter’s saxophone interplays beautifully with John McLaughlin’s guitar, offering an engaging dialogue between the two. Their instruments, at times, seem to be conversing, arguing, and harmonizing in the same breath.

“Iska” provides a different flavor. It’s a contemplative piece, where the complexity of the arrangements is evident. Shorter’s soprano saxophone soars, delves, and dances, guiding the listener through a labyrinth of sound. There’s a certain spaciousness to this track, a quality that allows for introspection amidst the intricate instrumentation.

“Manhattan Lorelei” is perhaps the most accessible track on the album. Its nod to more traditional jazz structures provides a sense of familiarity, but this isn’t a regression. The song serves as a reminder of Shorter’s roots, his foundational love for jazz, and his ability to interweave conventional and avant-garde elements seamlessly.

The inclusion of Brazilian percussionist Airto Moreira on “Vera Cruz” infuses the track with a rhythmic vivacity that feels both earthy and ethereal. There’s an organic nature to this piece, a raw heartbeat that pulses beneath the surface of Shorter’s melodic explorations. It’s a journey to a different place, perhaps a rainforest or a bustling Brazilian cityscape, showcasing Shorter’s fascination with world music.

Yet, while the album is undeniably innovative, its experimental nature might be a double-edged sword for some. “Moto Grosso Feio” demands attentive listening. It’s not an album of instant gratification but requires patience and immersion. For the uninitiated or those expecting a more conventional jazz experience, it might feel overwhelming or esoteric.

Recorded on the same day as the superior Odyssey of Iska, this loose session (Wayne Shorter's final one for the Blue Note label) is quite unusual. Although Shorter sticks to his customary tenor and soprano, pianist Chick Corea plays marimba, drums, and percussion; bassist Ron Carter mostly performs on cello; electric guitarist John McLaughlin sticks to the 12-string guitar, and bassist Dave Holland also plays acoustic guitar, with drummer Michelin Prell rounding out the group. Not released until 1974, the music is influenced by early fusion and has its interesting moments although it often wanders. The group performs Milton Nascimento's "Vera Cruz" and four of Shorter's originals, of which "Montezuma" is the best-known.

“Moto Grosso Feio” can be seen as a pivotal moment in Wayne Shorter’s illustrious career. It’s a testament to his restless spirit and desire to constantly evolve, to seek out new horizons and challenge both himself and his listeners. While it may not be for everyone, its place in the annals of jazz history is indisputable. For those attuned to its frequency, it’s a profound experience that resonates deeply, long after the final note has been played.

Track listing:

All compositions by Wayne Shorter except where noted.

"Moto Grosso Feio" – 12:30

"Montezuma" – 7:53

"Antigua" – 5:25

"Vera Cruz" (Milton Nascimento) – 5:12

"Iska" – 11:22

Personnel:

Wayne Shorter — soprano saxophone, tenor saxophone

John McLaughlin — 12-string guitar

Chick Corea — marimba, drums, percussion

Ron Carter — bass, cello

Dave Holland — acoustic guitar, bass

Jack DeJohnette — drums, thumb piano

Miroslav Vitouš — bass (uncredited on album cover but mentioned as part of sessions in liner notes)

Micheline Pelzer (credited as Michelin Prell) — drums, percussion