B. Bruford Interview
From: ohsawa at csg dot sony dot co dot jp
Date: Fri, 24 Nov 95 14:53:16 JST
To: toby at cs dot man dot ac dot uk
Subject: B. Bruford Interview
This is a continuation of the translation of B. Bruford Interview article
in a Japanese magazine.
Int: Why do you think it became so? (having fun playing)
BB: You could think of many reasons. But probably because we all became
older (laughs). You could say we became grown up. We all can take other
members as they are. There's no such situation where we battle fiercely as
we had done when we were young.
Int: In the old interviews there were stories implying tensions among the
members. Things have changed a lot since then ---.
BB: That's right. During those days every member was busy making their
statements "I, I, ---". Now it's different. We have a self-realization
that King Crimson as a band has its own world and that it doesn't exist at
all anywhere else. Of course, it does not contain all kinds of music. But
there's no doubt that it's the place where I can truely do what I want to
do. My place is there.
Int: Can you briefly explain about your equipments for this tour?
BB: The main set is Tama's Star Classic. Since I have an endorsement
contract with them, I can contribute to their research and development. I
think the comments of Simon Philips and mine are reflected in many ways. I
also use Simmons' Electric Pad. So I have a combination of acoustic and
electric. I also use a small sound module called Emu's Procussion.
Int: Do you have a preference for either acoustic or electric?
BB: Not specially. I only try to use the one that fits the sound required
at each point of time. Music being played decides the kind of set I'm
going to use. That's before my preference.
Int: What is that acrylic fences on the stage for? Is that for sound-proof?
BB: Yes. It prevents my drum sounds going to Tony's place too much. It's a
Int: Before an encore, three of you, you, Pat and Adrian played a
percussion session. How was Adrian?
BB: He was the most nervous one, for sure (laughs). He's not a professional
drummer or a percussionist. You can't help it. But his rhythm as a
guitarist is incredible. There was no problem as a rhythm player on stage.
Int: Can you tell me about the piece you played at that time?
BB: It's titled "Prism". It's a material from the album "Thinking Drums"
by a Swiss drummer Pierre Fabre (spelling?) . We changed it a bit and added
some improvisation. It was only three minutes but was fun.
Int: What do you think about playing the older songs like Red, Larks
Toungue in Aspic Part II in a double trio formation?
BB: Sometimes it's good, sometimes not. I think it would be the best to
play in the double trio the song written for that purpose. Fundamental and
original portions of such songs are made with double trio in mind. Older
songs basically do not consider doulbe trio. But I feel it's interesting to
do it as a new trial.
Int: As a drummer, is there any technique that you are studying or idea
that you are trying?
BB: As I get older I tend to think of further polishing the style I've had
so far. At the same time I am paying attention to new things. In my case,
the core is the style I've had since the '60's. It's difficult to explain
it in words. I'd like to take a good look at those. Ideas for playing will
always be there. It's not possible to explain each idea in detail here but
I think people would understand what they are if they listen to the albums
I have released in the past. The latest ideas are of course in the latest
album. I think those ideas are also giving positive effects to the band.
Int: What quality do you think is required most of a drummer?
BB: Stamina. Not only a physical stamina but also psychological and mental
strength are important. Personal practicing aside, you have to spend very
long hours rehearsing with the band. In the case of King Crimson, we spend
4 months out of one year for its activity. Rehearsal alone is quite a
thing. We don't play around during the remaining 8 months either. We spend
the time for personal practicing and rehearsals (laughs). Even today I
practice drumming at my own studio. It is perhaps an important factor
whether or not you could spend enough time of yours for drumming. In that
sense musicians are forced to work in solitude. Many ideas come up when you
face yourself. And if others like your ideas, you're lucky.
Int: Is King Crimson the basis of your activity?
BB: Yes. There's Earthworks for jazz playing. I also join other musicians'
albums. But my main work is being a member of King Crimson.
Int: If there is any project scheduled, please tell us.
BB: There are many projects I am thinking of but I shouldn't say anything
now (laughs). I'm also receiving many offers. I will announce them as they
get decided. You can look forward to them. At the moment I want to spend my
power on King Crimson.
This completes the translation.