Bill Brufford

Bill Bruford's career is like his drumming sound -- inimitable. Known for his ringing metal snare drum, crisp cymbal work, and knack for complex time signatures, a young Bruford came to prominence in the late '60s with Yes. The drummer completed his British art rock trilogy by briefly joining Genesis in the 1970s and spending a quarter-century with King Crimson through the late '90s. In between King Crimson dates, Bruford led a dazzling self-titled jazz fusion solo band from 1978 to 1980 that featured guitarist Allan Holdsworth, bassist Jeff Berlin, and keyboardist Dave Stewart. And even as he leads his visionary jazz band, Bill Bruford's Earthworks, he maintains a career as a session drummer (with artists like guitarists Al DiMeola and David Torn, bassist Jamaaladeen Tacuma, and keyboardist Patrick Moraz).
During one of King Crimson leader Robert Fripp's several lineup-shifting hiatuses in Bruford's 1972-1997 tenure, the drummer formed his self-titled Earthworks band in 1986. On its 1987 Earthworks debut album, Bruford often used electric Simmons drums to contrast acoustic horn players Iain Ballamy and Django Bates and upright bassist Mick Hutton, achieving the opposite of the standard lineup where drums are the only acoustic instrument. Subsequent releases like 1989's Dig? and 1991's All Heaven Broke Loose continued this forward-thinking trend, blending acoustic and electric instrumentation and jazz ideology with classical undertones. But by 1993's live Stamping Ground, Bruford had replaced Hutton with electric/acoustic bassist Tim Harries and was using keyboard-pitched electric chordal drums, the combined result being a more muscular and fuller sound.
Bruford continued recording and touring with King Crimson through 1997, releasing the Earthworks compilation Heavenly Bodies just as he quit the venerable rock band with which he'd had his longest tenure. It would prove to be a transitional year, as Bruford recorded a jazz chamber trio solo CD called If Summer Had Its Ghosts with legendary jazz figures Ralph Towner (guitar/piano) and Eddie Gomez (acoustic bass). Between explorative electric recordings with bassist and fellow King Crimson alum Tony Levin, Bruford kept Earthworks closer to the chamber jazz mode on the 1999 CD A Part and Yet Apart. Likewise, the lineup of Bruford, saxophonist Patrick Clahar, pianist Steve Hamilton, and bassist Mark Hodgson started the new millennium with the 2001 CD The Sound of Surprise, an outstanding blend of jazz tradition and forward-thinking transition.

Source: All Music.com.

Brian Bromberg "Plays Jimi Hendrix" (2010)

Brian Bromberg "It is what it is" (2009)

Brian Bromberg "Hands: solo acoustic bass" (2009)

Brian Bromberg "Wood II" (2006)

Brian Bromberg "Matal" (2005)

Brian Bromberg "Choices" (2004)

Brian Bromberg "Bass ackwards" (2004)

Brian Bromberg "Portrait of Jaco" (2002)

Brian Bromberg "Jaco" (2002)

Brian Bromberg "Wood" (2000)

Brian Bromberg "You know that feeling" (1998)

Brian Bromberg "Brian Bromberg" (1999/2005)

Brian Bromberg "It's about time, The acoustic project" (1991)

Brian Bromberg "Bassically speaking" (1990)

Brian Bromberg "Magic rain" (1989)

Brian Bromberg "Basses loaded" (1988)

Brian Bromberg "A new day" (1986)

Brian Bromberg

A very versatile acoustic and electric bassist capable of playing straight-ahead jazz, funk, and fusion, Brian Bromberg is also one of the few bassists to master the tapping technique made famous by Stanley Jordan, sometimes sounding like three bassists at once during his often-thunderous solos. Although he was a drummer at the age of 13, the following year Bromberg started classical lessons on bass. He developed quickly and by the time he was 19, he was part of Stan Getz's group. Bromberg has been a valuable sidemen with many bands since including those led by Horace Silver, Monty Alexander, Dizzy Gillespie, Richie Cole, Lee Ritenour, Dave Grusin, and Freddie Hubbard. He recorded his first album as a leader in 1986 (A New Day for the Blackhawk label) and has since led sessions for Intima and Nova; unfortunately, all of those record companies have since gone out of business. Into the next century, Brian Bromberg remained one of the most underrated bassists in jazz. That would change. Bromberg's initial albums as a leader were smooth jazz affairs, including 1986's A New Day, 1988's Basses Loaded, and 1989's Magic Rain, but he switched gears for 1991's It's About Time: The Acoustic Project, a more mainstream acoustic jazz record. The next release, though, 1993's self-titled Brian Bromberg, saw him return again to the smooth jazz feel of his earlier albums. Signing with Zebra Records, Bromberg released 1998's You Know That Feeling, which featured Rick Braun, Joe Sample, Jeff Lorber, Everette Harp, and other notables from the smooth jazz genre. Bromberg next went back to straight jazz for 2002's Wood, followed by a tribute to bassist Jaco Pastorius -- simply titled Jaco -- a short time later in 2003. A sequel to Wood, Wood II, appeared in 2005, and Bromberg had clearly moved out of the box of his smooth jazz phase, particularly with the rapid-fire, amazing bass solos that made up Metal, which appeared later in 2005. He also became a highly sought after record producer, with several charting projects in his résumé. Continually stretching himself on bass, Bromberg continued to move outside of the box with 2009's It Is What It Is.

Source: All Music.com.

Al Di Meola "Consequence of chaos" (2006)