Bill Bruford's Earthworks
Stamping Ground: Bill Bruford's Earthworks Live
Stamping Ground: Bill Bruford's Earthworks Live
UPC: 5060105491368
Format: CD
Release Date: Nov 05, 2021
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Bill Bruford's Earthworks: Bill Bruford (acoustic & electronic drums); Iain Ballamy (saxophone); Django Bates (Eb peck horn, keyboards); Tim Harries (acoustic & electric basses).
Recorded live at the Bottom Line, New York, New York on March 14 & 15, 1992; The Nightstage, Boston, Massachusetts on March 18, 1992; The Junction, Cambridge, England on May 22, 1992. Includes liner notes by Robert Sandall.
Bruford's jazzy side keeps getting hotter and hotter. This exciting wheel of live plastic really defines all that is best about contemporary jazz/rock amalgams; it's closer to fission than fusion. As the laser ignites the leadoff track, "Nerve," the able-minded listener gets the first good jolt of how Bruford's tight ensemble further embellishes and stretches its adroit chops off record and in front of an audience.
Iain Ballamy's sax is an unobtrusive yet probing element, replete with that emotive, languid sound shared by a host of European horn-players--Emil Mangelsdorff and Charlie Mariano come to mind--who don't shred the musical tarmac but rather flirt with adjunct rhythms and shaky time signatures. Django Bates is Ballamy's foil, peppering the stage with bizarre keyboard frills and his own shrill squeaks. Throughout all of this, both Bruford and bassist Tim Harries alternate between traditionalist, stately order ("A Stone's Throw") and erupting chaos ("Bridge of Inhibition"). With pristine sound further enhancing these performances, Bruford's credibility remains secure whether he's doing his jazz thing or his rock thing. His muse enables him to swing both ways splendidly.
Recorded live at the Bottom Line, New York, New York on March 14 & 15, 1992; The Nightstage, Boston, Massachusetts on March 18, 1992; The Junction, Cambridge, England on May 22, 1992. Includes liner notes by Robert Sandall.
Bruford's jazzy side keeps getting hotter and hotter. This exciting wheel of live plastic really defines all that is best about contemporary jazz/rock amalgams; it's closer to fission than fusion. As the laser ignites the leadoff track, "Nerve," the able-minded listener gets the first good jolt of how Bruford's tight ensemble further embellishes and stretches its adroit chops off record and in front of an audience.
Iain Ballamy's sax is an unobtrusive yet probing element, replete with that emotive, languid sound shared by a host of European horn-players--Emil Mangelsdorff and Charlie Mariano come to mind--who don't shred the musical tarmac but rather flirt with adjunct rhythms and shaky time signatures. Django Bates is Ballamy's foil, peppering the stage with bizarre keyboard frills and his own shrill squeaks. Throughout all of this, both Bruford and bassist Tim Harries alternate between traditionalist, stately order ("A Stone's Throw") and erupting chaos ("Bridge of Inhibition"). With pristine sound further enhancing these performances, Bruford's credibility remains secure whether he's doing his jazz thing or his rock thing. His muse enables him to swing both ways splendidly.