Dr Bill Bruford at Edinburgh Napier University
Vložit
- čas přidán 26. 07. 2024
- Visit Bill’s online store for exclusive and signed items: www.shorturl.at/adnpq
This video was nicely shot by students at the University. I include it because the arguments are reasonably coherent and quite provocative. I hope the lecture provoked later discussion about what we’re all trying to do with our musical instruments. We can be doing many things; not all of them the same, and some that not everyone wants to do. Not everyone wants be - or should feel obliged to be - spectacularly creative, for example. #billbrufordsearthworks
And after all that creative discussion of creativity, the man finishes on time. Epic.
totally true
Oh, how I would die to have an oppourtunity to go to a Bill Bruford lecture. I only wish to have such an chance to learn from such a mind in person. How fortunate we are to have this on film to enjoy.
I love it. Scientific breakdown of an artistic topic, sort of de-mystifying and bridging the gap between the art and science of music, and the performing of music. This is deeper science than mere math of time signatures.
And a discussion that could ONLY be accomplished by a man that has mastered both the art and the science.
Clever that you included "For Big Sid" - what a joy that always is to hear. I was introduced to Max - and to proper jazz - through Bill. I saw "Executive Producer - Max Roach" during the credits on the "Bruford and the Beat" video, and I investigated. And here I am, a full-blown jazz and bop fan, and *almost* a scholar on Max's playing. Will Max's place in drum history ever really be recognized? The question has to be asked: Was Max a genius? I think perhaps yes.
Isn’t Max Roach already pretty revered in the jazz universe? Maybe I’m not quite correct, but I’m fairly certain he’s been considered the greatest jazz drummer by many critics, and most certainly one of the top 5 by just about any jazz critic worth their salt. Am I misremembering this? (I’ll admit, it’s been a while since I’ve listened to or read about Max Roach, but that’s my memory.) ✌️
a fantastic lecture Dr. Bruford!
Brilliant Dr B.
Very bright and articulate bloke. Good drummer as well!
Extraordinaria apertura a la discusión... la creatividad requiere de ciertos factores a identificar.
When are there homework assignments due? kidding,brilliant stuff
Cheers!
Dr. Bruford is my favorite drummer. I've always found something interesting in his playing and his interviews and lectures about playing. I think the topic he is addressing is interesting, but I think he approached it a little light handed. If the topic is creativity and where it fits into playing, as a drummer, I think he carries enough respect within the drumming community that he could have interviewed some of the most respected players out in the field today to get their perspective on playing in multiple situations. Imagine speaking with Steve Gadd and getting his perspective on creativity. Is he able to bring a creative voice to every gig, or is playing with James Taylor or Eric Clapton more a re-creation of what was played on the original tracks of the songs they play live? Is Vinnie able to be as creative with a Sting concert as he may be with Herbie Hancock or Jeff Beck? He could have asked Steve Smith if creativity ends in the studio, while the actual live performance is just repitition of what he recorded, or if there is room for creativity even in the nightly performance of the songs. Imagine getting Terry Bozzio's perspective on how he approached Bill's parts on the original UK album. Did he feel tied down to what was on the original recording, or did he feel free to create a different drum part? Did he do the same when he played with Zappa? How creative was he able to be on a nightly basis with the complicated arrangements that Frank had written? Did Chester Thompson ever feel like he was able to be creative in concert with Genesis, or was he tied down to what was on the recording? Is there room for creativity in popular music, or is the artist/drummer tied to what was played in the studio and what the audience expects to hear? How do the people who make a living playing in multiple musical genres approach playing, keeping things fresh and interesting, while satisfying the artist and the audience?
Good question Keith.
Keith Rausch suggests that"...he (Bill) could have interviewed some of the most respected players out in the field today to get their perspective on playing in multiple situations". Bill interviewed Pete Erskine, Cindy Blackman Santana, Chad Wackerman, Mark Guiliana, Asaf Sirkis, Martin France, Thomas Stronen and other great contemporary players for their views on creativity in multiple situations for his most recent book "Uncharted: Creativity and the Expert Drummer" upon which this lecture is based. Signed copies available burningshed.com/store/billbruford/signed-exclusives/bill-bruford_uncharted_book Admin
@@BillBruford OK, I'll accept that Dr. Bruford interviewed some very well respected drummers for his thesis, but if I were his publisher I would have to stick with my original statement and have asked Dr. Bruford to expand on his research to include a wider field of drummers from a wider field of music. His book could have become the bible for any drummer looking to expand his musical capabilities. With that in mind I'm thinking Dr. Bruford should take the time he is spending not being out on tour and do a weekly podcast that concentrates on drummers from all genres and how they approach the ability to stay creative within the music they are playing. Imagine Gene Hoglan explaining whether he was able to stay creative within the music he was playing on a nightly basis. It could be called B Creative. Of course this does not have to be restricted to drummers. I recently watched an interesting video of Steve Vai talking about what he learned about being creative from being in Zappa's band. It would be Dr. Bruford's choice as to how far he would expand the topic.
@@keithrausch3681 Considering Bill is one of the most creative and brilliant drummers of all time, and has thought deeply about and thoroughly researched the subject of creativity, maybe the offering of advice should take a backseat to actually purchasing Bill’s book. Maybe the book is the Bible of drumming creativity, but how would you know that unless you actually READ IT
@@howtobeatadrum Quite angry, and foolishly presumptuous. I like when people think their point is better made by capitalizing certain words. I can read, and understand your point. The onslaught of capital letters doesn't improve your point or change it's significance. I guess my initial question would be how do you know whether I've read Dr. Bruford's book or not? Now, once you have come up with your best clarification of your clairvoyance, then you can move on to my next question. Did you read my posts and fully understand them? I would go deeper into this, but my post was for the good Dr. I'm sure he could understand them and if he sees fit to respond then so be it.
I was amazed how different and inferior APFs drums were to the much missed triplets Nick Mason played on the original - yet they claimed authenticity.
42:20 is this Allan Holdsworth, anyone???? Hairs on my neck just stood tall if so. Could not find link to confirm this Asaf Sirkis link.
At that time I don't think it would be anyone else with that legato style.
@@thebreathalyzer Thanks. Been trying to confirm if this was AH or a copycat lol
Yes probably
phd piled higher and deeper.
Hmmm...I live in Napier NZ!
I used to live near Napier, IL!
i think he means improv, not creativity.
Improvisation is part of the ability Of the brain to activate the pre frontal cortex still the brain is creating things so improvisation is part of creativity
I bet dr Bruford knows exactly what he is talking about and what creativity means
This is why he's a Dr on percussion/drumming in music the so called rules are meant to be broken and individual expression is what's most important but if you watch a lot of you tube drum teachers they will try and convince you that you can't go outside the so called rules
The Cult of the Individual: Most people automatically assume that the post-Industrial Revolution/'the Enlightenment' has been almost exclusively focused on the individual and individualism. But during what might be considered the golden age of sociocultural and socioeconomic Judeo-Christianity (conservatism and classical liberalism) that lasted for about two hundred years (1770-1970), almost nobody lived as an individual.
Western societies during this time were highly collectivist. Almost Borg-like. This was a bottom-up form of collectivism where family, community, the Church, and the nation (all collectivist social structures) set the agenda. It was a period of extreme uniformity. Maybe best exemplified in the way that we taught our kids. Classrooms full of uniformed children sitting at their desks arranged in perfectly straight rows chanting out the times table.
Discipline. Order. Everything in its rightful place. There were uniforms everywhere. Uniform ways of dressing. A uniform way of living. Everyone got married. Everyone had children. Population levels during this time sky-rocketed. Levels of religiosity and conscientiousness went up considerably, especially during the Victorian and Edwardian periods.
The events on the Titanic possibly representing a high point: All of the men went down with the ship due to an almost cult-like level of adherence to Judeo-Christian values. And the overall level of nation-state identity also increased significantly. The post-Industrial Revolution/'the Enlightenment' was not in any way, shape, or form dominated by a worldview that considered nationhood or collectivism (bottom-up) as problematic.
What has come to be known as ‘liberalism’ is actually neo-Marxism aka progressivism which only arrived in the mid 20th century. Sociocultural & socioeconomic Judeo-Christianity (conservatism and classical liberalism) remained dominant for nearly two centuries following the Industrial Revolution. The original use of the label ‘liberalism’-as in classical liberalism-was subsequently co-opted by the far-left as part of their constant rebranding process, in addition to the political right fully buying into the new definition.
There is also a dangerous widespread belief that societal decline since WW2 has been a result of nihilism, civilizational-burn out, and the pressures of modernity. In reality, all of the societal problems that have developed are a product of the highly corrosive effects of neo-Marxism and socialism (welfarism). Any form of nihilism or atomization caused by the intentional collapse of cultural and moral systems is actually a form of social-engineering.
Important to note: There is a fundamental difference between doctrines under a Judeo-Christian worldview that espouse the importance of individual rights and individual responsibilities in regards to primarily wealth and property, and the concept of individualism. These are different philosophical concepts, especially when those individual rights in practice manifested themselves almost exclusively within the family substructure of society.
The modern obsession with the individual and individualism didn’t arrive until the 20th century, and more specifically the mid-late 20th century. Individualism is almost entirely a product of socialist policies like welfarism and the welfare state in addition to the highly subversive strategies such as Critical Theory that aimed to destroy institutions like the family and the concept of marriage.
We saw this most in the black community where family life disintegrated when welfare programs took over the role of the traditional family structure. The political right has completely appropriated this manufactured individualism, and are literally consuming the fall out from the destruction caused by their ideological enemy.
The decline in creativity in the West over the last half-century is almost entirely due to the rise of neo-Marxism which aimed to fundamentally deconstruct Western civilization/'white-Western hegemony'. This included wholesale demographic change on the basis that 'everything is too white'. A complete rejection of the MLK doctrine.
Exactly the same disturbing sentiment:
‘too many Jews!’
‘too many white people!'
‘too many Jewish people with power and privilege!’
‘too many white people with power and privilege!’
‘everything is too Jewish!’
‘everything is too white!’
................ sociocultural & socioeconomic Judeo-Christianity (conservatism & classical liberalism) ............... ...................................................................................... vs .......................................................................................
proto-Marxism (Reign of Terror) → Marxism (Red Terror) → Maoism (Great Leap Forward) → neo-Marxism ...................................................... ('progressivism', 'liberalism' & 'wokeism') .......................................................
You went too far bruh. Topic is about creativity, music and performing it.
im struggling to see how this is at all related directly to the topic. i can see it as sort of a tanget to the idea of an "individual's" creativity and the presence of creativity today but this really isnt the place for that sort of rhetoric regardless of its factuality or lack thereof.
Lmao what a silly comment
All of that text... and absolutely no argument or supporting information for this massive, massive claim: "Individualism is almost entirely a product of socialist policies like welfarism and the welfare state..." which seems to be completely anathema to socialism as a collectivist ideal in pure concept. Individualism is much easier to attribute to Thatcher-Reaganism, and even back to the 'American Dream' mentality. So, you'd better provide an argument for your claim.
Bullshit. People have always been highly individualised and only pseuds and academics think otherwise.
BORING
Drivel, poor philosophy.
Cynicism, pure cowardice.
@@yoavmiller216 zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
Not good...