Book Review: Bruford - The Autobiography

This is quite unlike any music autobiography I have ever read. There's no tales of drug binges, wild orgies with groupies, car wrecks, or any of the usual excess we have come to expect from "famous" musicians - take a bow Motley Crue. Considering how long Bruford spent with Yes and King Crimson, there's also very little detail about those seminal bands.

What we do get though, is a large serving of disdain for the "music business" and a very intellectual analysis of making music, musicians and the audience. There are passing references to Chris Squire, Robert Fripp and others but that's not what this book is all about.

Perhaps the strongest feature of his autobiography is the research that crops up on every few pages. Bruford references many published analyses on music and creativity which I found very interesting. And that fits in with the style of the book because it is a very analytical and intellectual read. Obviously none of the stupid drummer jokes apply to Bruford.

However, what makes this book different is also its downfall in my opinion. An autobiography is supposed to be personal, and this book doesn't deliver on that level. I would have liked to know more about how some of those classic albums ["Fragile", "Close to the Edge", "Red", "Discipline" etc.] were conceived, rehearsed and recorded. I want to know about other musicians he's played with and loved or hated and why [there are a few references, but not many]. As he's now retired, let's hope that is covered in book #2.

After reading this, I felt I got a better understanding of what it's like to be a musician that remains true to themselves despite the industry they are in. I feel I know what Bruford thinks about a lot of topics, but I don't feel I really know what makes Bruford tick or some of the experiences he has had that have shaped him as a person. He comes across as rather cold and removed from everything, like he was a distant observer of events rather than actually being in among the drama.

The other thing that rubs me the wrong way is that he has had an incredible 40-year career in the music business - yet there are a lot of sour grapes and a lack of appreciation of how lucky he has been. I would be on cloud nine if I could jam with Tony Levin or travel the world doing what I loved.

Overall, it's an interesting, intellectual read, but I would not be beating down the door to buy it at full price unless you are already a huge Bruford, Yes, or King Crimson fan.

Listen Up: Third World Electric - Kilimanjaro Secret Brew [2009]

Here's a great disc worth tracking down. I like '70s Weather Report a lot, but being a guitar player, I always wished they had a guitarist. This CD gives you an idea what that would have sounded like: F A N T A S T I C !

This disc is very much in the Weather Report & Zawinul Syndicate [with Scott Henderson] camp - it's a tasty gumbo of '70s jazz-fusion and ethnic/world music. Of course it doesn't hurt that the band features some seriously good players - The Flower Kings' Roine Stolt, Jonas Reingold and [ex-FK drummer] Zoltan Csorsz along with drum monster Dave Weckl on three tracks. Scott Kinsey [Tribal Tech keyboardist] put out an album called "Kinesthetics" in 2006 in a similar style, but I find "Kilimanjaro Secret Brew" much more exciting and interesting.

Each track offers jazzy grooves and African soundscapes that give the players plenty of space to solo over. However, unlike the super indulgent '70s, everything is kept very controlled and concise. And that's the big attraction of this disc: everything is just right. The rhythm section is excellent on every track [wonderfully nimble fretted and fretless bass playing by Reingold], the synth textures are perfectly '70s, and Roine Stolt provides some nice guitar textures, including some wah pedal, to add some crunch. The icing on the cake is the recording itself: crystal clear and very dynamic, unlike the super compressed CDs that are typically produced these days.

I have really been enjoying this hard to find CD lately and highly recommend it. It's a travesty that such a great album has no major label support and limited distribution [it's on the bass players' label Reingold Records]. But I won't beat that dead horse any more.

Available from Abstract Logix, Audiophile Imports and other online sources.

1 Waterfront Migration
2 Ode To Joe
3 Capetown Traffic
4 Downbeat Dakar
5 The Lava Juggler
6 Kilimanjaro Secret Brew
7 Tincan Robots
8 Children Of The Future

Jonas Reingold (fender & warmoth basses)
Dave Weckl (drums)
Zoltan Csorsz (drums)
Karl Martin Almqvist (tenor & soprano saxophones)
Roine Stolt (guitars & keyboards)
Ayi Solomon (congas & percussion)
Lalle Larsson (piano, rhodes & synth)

Movie Review: I Need That Record [The Death (or Possible Survival)] of the Independent Record Store

I watched this documentary recently (streamed from Netflix) and I found it quite interesting and enjoyable. I don't think it completely answers the subtitle though: The Death (or Possible Survival) of the Independent Record Store. There's a lot about the death, but not much about the survival.

Through interviews with independent store owners (many of them going out of business) and independent artists/labels, the movie charts the decline and splintering apart of the music business. It examines the "pay for play" trend, the consolidation of radio stations leading to narrow playlists, the gouging of consumers with $18.98 CD pricing, the impact of MTV, the rise and fall of Napster, and how the Internet has turned the music industry upside down. Much of this we already know, but the documentary does a good job of providing context and supporting statistics for these developments.

It's a fairly short documentary and well worth watching for those of us interested in music.

Listen Up: Frank Marino @ Showcase Live, Foxboro, MA 11/04/10

Today I've been spinning a fantastic audience recording of this legendary, but underrated guitarist. I've been buying Marino/Mahogany Rush albums since 1977 and have a few unofficial live recordings and this is by far the best audience capture in circulation among bootleg collectors. Frank may have found the Lord in the last few years, but he's also rediscovered his immense chops. Hendrix was always a huge influence and if that wasn't obvious he drives the point home by playing a 20+ minute version of "Voodoo Chile" along with extended versions of "Red House", "Are you experienced" and the rarely played "Axis: Bold as Love". While I like Hendrix a lot, I would have preferred that he played some more of his own material. But these are minor complaints because overall this is a killer show.

CD 1
01. Voodoo Chile - Somethings comin' our way
02. Red House
03. He's Calling
04. Dragonfly
05. Are You Experienced

CD 2
01. Axis Bold As Love
02. Poppy - She's Not There - Crossroads
03. Strange Universe

CD 3
01. Stories of a hero
02. Rock and roll hall of fame
03. Drum Solo
04. Guitar Solo-Electric Reflections of War - World Anthem
05. Try For Freedom - Amazing grace

Listen Up: Hiromi – Voice [2011 release]

Been spinning the latest [Japan only] CD by stellar Japanese pianist Hiromi Uehara today. This is an excellent album with a nice variety of tunes – some fusion, some straight jazz, and some solo and classical pieces. What elevates this above other similar albums is the supporting cast: English drum legend Simon Phillips (Toto, Los Lobotomys and 100s of sessions) and contra bassist Anthony Jackson (Al Di Meola, Steve Khan, etc.)

Despite being just a trio, this stripped down band really cooks and swings. While Hiromi spends most of her time on piano, she does add some tasty synth textures to some songs to spice things up. Sounding at times like the Chick Corea Elektric Band, this CD is full of interesting melodies and grooves with enough changes to keep your attention without being too self-indulgent.

The recording is superb with some great low end presence from Jackson’s bass and Phillips' double bass kit. On “Voice”, “Labyrinth” and “Desire” Phillips really stretches out and works his kit to great effect.

There’s only one significant issue with this CD – it’s a Japan only release and costs around $40. Still worth it though. Great stuff.

Vintage Stereo - Pioneer SX-780 Receiver

I like old guitars. I like "old music" especially jazz-fusion from the 70s, so why not old stereo equipment? And the more I started to read up about vintage stereo in forums like Audiogon and Audiokarma, the more interested I got in collecting a few pieces before the prices go through the roof like they have for vintage electric guitars.

The '70s were the golden age of receivers - usually silver faced designs pumping out 100 watts per channel or more with enough buttons and lights to match an aircraft cockpit. These receivers were created with a passion for design and build quality you just don't see in today's lowest cost, disposable approach to business. Quite simply, they don't build 'em like that any more and you can tell because these things weigh 50 pounds or more. Like many of my favorite guitars, they are made in Japan - a sign of quality right there. For whatever reason, the '80s ushered in a different era of [lesser] quality and black plastic.

It's amazing how many '70s receivers are still around in great condition by Marantz, Pioneer, Yamaha, Luxman, Harman Kardon, Sansui, Kenwood . . . the list goes on. When I saw a Pioneer sx-780 for only $50 on Craigslist I decided to take the plunge. At "only" 45 watts per channel it does not have the appeal [or price tag] of the 100+ watt monster receivers that everyone wants, but I figured it was a good place for me to start.

It was in good condition overall, but super dusty and dirty - but for $50 it's hard to complain. It obviously sat in someone's basement for at least 10 years. Maybe 20. Surprisingly [or perhaps not surprisingly when you consider how well designed and built these pieces are] everything still worked, even every light bulb. I ordered some Caig DeoxIT and a can of compressed air, opened the case and went to work. I managed to get the knobs and face plate off so I could clean behind the glass and deoxidize all the switches. As you can see, it's really cleaned up nicely and I love the black meters - especially the two VU meters which bounce around based on how loud you crank it.

So how does it sound? I would say it's mid-fi rather than hi-fi. It sounds fairly neutral, but not super clear or detailed like my Cyrus amp. It has some powerful, deep bass though - always a good quality in my book. Of course, with equipment that's approaching 35 years old, some of the components are on their last legs and probably need replacing to get it operating to the manufacturer's original specs so any judgments on sound quality have to be made with that caveat.

I am not sure I will keep this unit long-term or put any more money into it, but I am enjoying it for now. I am currently playing FLAC files from my laptop through it and it sounds so much better than my mini PC speakers. Plus it has a phono section so I can play my '70s vinyl again!

Online Pedalboard Planning Tool

Ever wondered if that next pedal you buy will actually fit on your pedalboard? Or if you completely revised the layout of your board what it would look like? Now there’s a new online tool where you can create your own virtual pedalboard with to scale graphic representations of many vendors’ pedals.

Sponsored by Pedaltrain, makers of the excellent industrial strength series of pedalboards, it’s a fun and useful planning tool.

Check it out at http://pedalboardplanner.com/