If my services as a drummer are replaceable, I know now for certain that my services as someone who thinks up album titles are indispensable.
I had proposed the groups fourth album be called ‘Fragile’ because I thought we were breakable, and the band’s art director, Roger Dean, brilliantly parlayed that idea up to the prescient image of the fragile planet earth, with implications of a delicate and breakable eco-system. I had suggested that the fifth album be called ‘Close to the Edge’ because I continued to feel we were on the verge of implosion.
Not great titles, but surely better than the the muddled ‘Tales’. Can oceans be topographic? Are they all topographic, or is the term applicable to specific oceans? If so, to which oceans do these terms refer? Are they tales from some topographic oceans or all topographic oceans? And surely infinitely better that the appalling and yet-to-be-conceived Tormato.
— Bill Bruford, The Autobiography. (via ekseption)
66’-67’ jazz was in a bad place. Jazz was “free jazz”, it was squeeky-bump jazz. You know the eeeerereee squeeking away. And any red-blooded drummer, age, 17 at that time, would have wanted to play with Jimi Hendrix rather than this spontaneous musical ensemble.
Sometimes in tunes I think the drummer will want to be simple and complex at the same time. So if there is an odd numbered rhythm, perhaps a 17 or some trickier beat like that which half the orchestra has, it maybe best to offset that with a steady 4/4 pulse. So that the audience locates the dance groove in it, locates the simple essential beat from which it then perceives the tension of the odd number on top. If you merely present the odd number against nothing then there is no tension. And excitement in music comes from tension and release. If you merely offer the complex beat, people tend to only perceive it as a complex beat. If you offer the simple at the same time, there is the tension, there is the excitement, there is music.