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BILL BRUFORD

Jazz Rock/Fusion • United Kingdom


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Bill Bruford biography
William Scott Bruford (May 17, 1949, Sevenoaks, Kent, UK)

Pick up just about any of the most successful albums from progressive rock's heyday, flip it over to the credits, and there's a good chance you'll see Bill BRUFORD listed as the drummer. Having played in perhaps more famous prog bands than any other artist, BRUFORD has, at one time or another, kept time for just about every major band in the genre, as well as maintaining a successful solo career.

Beginning his professional career while still in his teens, BRUFORD answered a drummer wanted ad in the Melody Maker and proceeded to join two young men in what he thought was to be 'a vocal group, in the style of The Fifth Dimension'. The two young men were named Chris SQUIRE & Jon ANDERSON, and together they formed the nucleus of what was to become one of the biggest progressive bands of all time, YES. After the worldwide success of their albums "Fragile" & "Close to the Edge", BRUFORD was eager to explore more fertile musical pastures. Leaving a band that was, at that point, poised on the verge of worldwide superstardom was seen by most as misguided at best, insane at worst. BRUFORD, however, felt he had learned all he could from YES, and was looking for a fresh musical environment in which to stretch his wings. He found just such an entity in KING CRIMSON.

After numerous personnel changes over the years, bandleader Robert FRIPP had decided to radically reform KING CRIMSON, and enlisted BRUFORD with the priceless quote "I think you're about ready now, Bill..." For the next two years, BRUFORD and CRIMSON produced some of the most innovative and influential music of the 1970s before FRIPP, in a prescient preemptive response to the growing grandiosity of the genre, once again disbanded the band in 1974. BRUFORD then shifted his time between a variety of projects. In 1977, he joined GENESIS as a touring drummer to allow recently promoted frontman Phil COLLINS to concentrate on vocal duties. The same year, he formed his own eponymous fusion band with Jeff Berlin, Alan HOLDSWORTH, and Dave Stewart. They released a series of fine albums which allowed BRUFORD ample room to explore his love of jazz.

After an aborted attempt at forming a supergroup featuring John WETTON & Rick WAKEMAN, BRUFORD & WETTON then joined forces with Eddie Jobson & Alan HOLDSWORTH to become U.K. The original lineup o...
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Seems Like a Lifetime AgoSeems Like a Lifetime Ago
Box set · Import · Limited Edition
Winterfold UK 2017
Audio CD$119.99
Feels Good to MeFeels Good to Me
Import
United States Dist 2005
Audio CD$6.99
$11.90 (used)
Blue NightsBlue Nights
Import
Voiceprint UK 2008
Audio CD$8.92
$29.97 (used)
Rock Goes to CollegeRock Goes to College
Import
Winterfold UK 2007
Audio CD$7.13
$7.59 (used)
EarthworksEarthworks
Editions Eg Records 1990
Audio CD$34.55
$4.89 (used)
One Of A KindOne Of A Kind
Astralwerks 1991
Audio CD$11.25
$6.36 (used)
The Summerfold Collection 1987-2008The Summerfold Collection 1987-2008
Import
United States Dist 2009
Audio CD$13.71
$13.70 (used)
Bruford TapesBruford Tapes
Editions Eg Records 1990
Audio CD$40.98
$4.00 (used)
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BILL BRUFORD discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

BILL BRUFORD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.95 | 184 ratings
Bruford: Feels Good To Me
1978
4.10 | 279 ratings
Bruford: One Of A Kind
1979
3.44 | 93 ratings
Bruford: Gradually Going Tornado
1980
3.50 | 33 ratings
Bill Bruford & Ralph Towner & Eddie Gomez: If Summer Had Its Ghosts
1997

BILL BRUFORD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.62 | 46 ratings
Bruford: The Bruford Tapes
1979
3.90 | 11 ratings
Bruford & Borstlap: Every Step A Dance, Every Word A Song
2004
3.26 | 20 ratings
Bruford: Rock Goes To College
2007
2.25 | 5 ratings
Bruford & Borstlap: In Two Minds
2007

BILL BRUFORD Videos (DVD, Blu-ray, VHS etc)

4.25 | 4 ratings
Bruford - Borstlap / In Concert In Holland
2005
4.28 | 14 ratings
BBC Rock Goes to College: Live 1979
2006

BILL BRUFORD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.58 | 33 ratings
Master Strokes: 1978-1985
1986
4.08 | 5 ratings
The Winterfold Collection 1978 - 1986
2009
4.09 | 4 ratings
The Summerfold Collection 1987 - 2008
2009

BILL BRUFORD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

BILL BRUFORD Reviews


Showing last 10 reviews only
 Bruford: Feels Good To Me by BRUFORD, BILL album cover Studio Album, 1978
3.95 | 184 ratings

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Bruford: Feels Good To Me
Bill Bruford Jazz Rock/Fusion

Review by macpurity

5 stars This recording was released 40 years ago! It will soon have a new remastered release later this year as a 6CD, 2DVD box set. So, it seems only fitting that another review be added to honor this rather phenomenal piece of jazz-rock art. If anything, to alert other Bruford fans that new mixes and remasters are on the way. The boxed set will feature this recording, One Of A Kind, The Bruford Tapes and Gradually Going Tornado, along with some other select special additions. It cna be found through a web search and/or a visit to a web site having to do with a scorched outbuilding.

Previous reviews truly hit all the marks, even the not so glowing ones. I can relate to some of the misgivings, but as a whole, the compositions are about as complex as permitted in music theory textbooks. Bruford and company push the envelope in terms of rhythms and compositions.

Bruford's percussion is (ahem) flawless, The late Allan Holdsworth's guitar work is still fun to listen to, including those on-purpose notes that almost sound like errors. No such thing in Allan's delivery. The bass of Jeff Berlin is tight, on the money, and possesses phrasing that rank among the best bassists. Absolutely love Dave Stewart's keyboards and synth sounds. He's a master; as can also be appreciated in his work with Barbara Gaskin. Annette Peacock's vocals do take some adapting to, but once you gain familiarity with the music, you appreciate her style, range and presence. Then throw in Kenny Wheeler's flugelhorn for good measure and some smoothness (especially on Seems Like A Lifetime Ago Part I). With co-production by Robin Lumley, it is a conglomeration of shear mastery.

I bought this one, the first time, brand new, without any in-store listening, in 1977 on vinyl. On forst listen, it knocked my socks off. I played that album a lot through the years and nearly wore it out. Thankfully, I re-purchased it on CD 13 years later, in 1990, and once again enjoyed clear digital sound. This coming October (2017), I look forward to becoming re-familiar with this recording (and others in the box-set), some in the delights of 5.1 DTS surround. So glad that Bill Bruford encouraged a 2017 re-engineering of some representative jazz rock from forty years ago. Seems Like a Lifetime Ago! Indeed!

 The Winterfold Collection 1978 - 1986 by BRUFORD, BILL album cover Boxset/Compilation, 2009
4.08 | 5 ratings

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The Winterfold Collection 1978 - 1986
Bill Bruford Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars This single CD compilation is the companion to the Summerfold collection. While that concentrates on 1987 ? 2008 and 12 releases, this is 1978 ? 1986 from six albums. With musicians such as Allan Holdsworth, Jeff Berlin and Patrick Moraz on board there is no surprise that here is music of the highest order. Although not fully jazz, there are still huge elements of that within the progressive style that is on display. What impresses me so much about this album is that Bill doesn't feel the need to be at the front over-riding the rest of the guys. This feels very much a band as opposed to a drummer with some hired guns to provide the melody. The impression is that improvisation was taking place in the studio, with musicians all on the same wavelength and it is certainly no surprise that from this he moved more and more into a 'pure' jazz style.

Of the two sets this is probably the one that will be most accessible to those who may not normally listen to jazz, but in reality they are both essential listening and a great guide to the music of someone who to many will always be associated with prog giants such as King Crimson or Yes. The booklet is well written, extremely informative with plenty of photos.

 The Summerfold Collection 1987 - 2008 by BRUFORD, BILL album cover Boxset/Compilation, 2009
4.09 | 4 ratings

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The Summerfold Collection 1987 - 2008
Bill Bruford Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars This double CD brings together music from 12 albums released on the label between 1987 and 2008, 22 songs in all. Those looking for progressive rock workouts should turn their attention to the companion Winterfold release as what we have here is jazz in its' truest and many forms. While there have been important jazz drummers since the scene started to be made available in a recorded format, Gene Krupa being of course the most notable, there is no doubt that in recent times Bill has made a claim to being the most important player in the scene. This is not only due to his playing and songwriting, or his ability to bring together great musicians, but also due to the history he brings with him. Many people have been turned onto jazz who originally were fans of his from his progressive rock days, and have followed him on the journey and stayed the course.

Prior to this collection I had heard little of the output from this label, but the collection has been put together with care, showing the many sides of Bruford and his take on the genre. There are big band arrangements through to more simpler bands set ups, although still providing the complexity and spontaneity that this music needs. The booklet is extremely informative and in many ways this is the perfect introduction to the jazz side of Bruford and certainly has led me to want to find out more.

 Bruford: One Of A Kind by BRUFORD, BILL album cover Studio Album, 1979
4.10 | 279 ratings

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Bruford: One Of A Kind
Bill Bruford Jazz Rock/Fusion

Review by poito

4 stars 3.5 Jazz fusion is always a difficult music, not for all ears. I admire what these guys can do. No doubt this genre is a corner where very talented musicians meet to explore new avenues. I would say this is music for musicians. If you are not a fan of jazz-rock and it happens you drop by this album, it is likely you won't be very much hooked. The lack of melodies in this particular set makes it harsh for occasional listeners. I need some melody too for my brain to remind it; otherwise, it comes and goes, as a dish of exotic food that you'll probably never taste again. It is difficult to enjoy it on the run. One thing is true, for the time being, there are some elements pushing jazz rock ahead, but not much, anyway. I liked more what The Soft Machine and Weather Report were doing in mid-70's. My favorite tracks are The Abindong Chasp, Fainting In Coils, and Forever Until Sunday. But for my proggy taste the more interesting track is the closing The Sahara of Snow, a two part theme that blends recognizable styles that remind of JL Ponty, King Crimson, Soft Machine and Pat Metheny. By the way, Bruford is in my view the weakest part of the set in this album. He is OK, but faints behind the efforts made here by other gifted musicians like Holdsworth, Stewart and Berlin.
 Bruford: One Of A Kind by BRUFORD, BILL album cover Studio Album, 1979
4.10 | 279 ratings

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Bruford: One Of A Kind
Bill Bruford Jazz Rock/Fusion

Review by Guillermo
Prog Reviewer

4 stars After trying for several years to find his "best musical identity" in his musical career after the split of KING CRIMSON in late 1974, BILL BRUFORD, by the late seventies at last found it (in my opinion), leading his BRUFORD band to record this all instrumental (without vocals) very good Jazz-Rock / Fusion album in 1979. In fact, it was his second "solo" album, with "Feels Good to Me" (which was recorded in 1977 but was released in January 1978) being his first real solo album. But, with the "One of a Kind" album being really an album recorded under the BRUFORD band's name, with more songwriting collaborations from Dave Stewart, Jeff Berlin and Allan Holdsworth, all of which also contributed to the "Feels Good to Me", album but with that album really being released under BILL BRUFORD's name than as an album recorded as a band.

Why I said before that BILL BRUFORD found his "real musical identity" with this album (and also with "Feels Good To Me")? He said in interviews that while he previously played with a lot of Prog Rock bands, he really was a Jazz drummer playing Rock music. This somewhat "strange mixture" of musical styles for him as a drummer really worked very well while he worked with these bands, with him contributing very good drums playing with very good technique. But for the "Feels Good to Me" and "One of a Kind" albums, he really was composing, playing and recording very good Jazz-Rock / Fusion music by the late seventies. It really was a long "journey" for him to really play the kind of music that he most liked, I think, since he started to be a professional musician in 1968.

While he was playing with the band "U.K. " (with Holdsworth, Eddie Jobson and John Wetton) , he played two of his songs on tour with that band, both of which he later recorded with the BRUFORD band for the "One of a Kind" album: "Forever Until Sunday" and "The Sahara of Snow (Parts 1 and 2)". He said in one interview that Jobson and Wetton didn't want to record those songs for the then planned second "U.K". album with Bruford and Holdsworth (which in the end was titled "Danger Money" and was recorded with Terry Bozzio replacing Bruford but without Holdsworth being replaced). Some live recordings of their 1978 tour show the band playing both songs, and those recordings show the conflicts that the band had, with Holdsworth and Bruford wanting to play Jazz Rock / Fusion music, while Jobson and Wetton wanted to play Prog Rock music (and in the case of Wetton, also Pop Rock music). So, both Bruford and Holdsworht left "U.K." (or were "fired", as Bruford said) in late 1978 to form the BRUFORD band. Anyway, for the recording of "Forever Until Sunday which was included in the "One of a Kind" album, Bruford invited Jobson (then uncredited in the record sleeve to avoid "confusion", as Jobson said in one interview) to play the violin part. But Jobson also was credited as songwriter with Bruford in the part 2 of "Sahara of Snow", but Jobson didn't appear playing in that song. Anyway, "Forever Until Sunday" and "The Sahara of Snow" were recorded for this album with almost the same arrangements that "U.K." played in their 1978 tour.

This "One of a Kind" album, in my opinion, has some more complicated music than the "Feels Good to Me"album, showing that BILL BRUFORD really improved as a composer since then ("with a litle help from his friends" in some songs). But BILL BRUFORD was the main composer and leader in this band. But he let his friends record some of their songs: "Hell's Bells" is a song composed by Stewart (with Alan Gowen); "The Abingdom Chasp" was composed by Holdsworth alone. Some of the other songs have songwriting contributions from the other members of the band: "One of a Kind Part 2" was composed by Bruford with Stewart; "Five G" was composed by Bruford with Berlin and Stewart. But the rest of the songs were composed by Bill Bruford alone.

This album has a very good recording and mixing, with all the members of the band playing very well. Jeff Berlin really shines as bass player in this album.

This is a very good Jazz-Rock / Fusion album. Maybe it sounds "very late seventies" in musical style, but it is very good anyway.

 Bruford: Rock Goes To College by BRUFORD, BILL album cover Live, 2007
3.26 | 20 ratings

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Bruford: Rock Goes To College
Bill Bruford Jazz Rock/Fusion

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

2 stars Back to the begining again

While the Bruford Tapes was released straight after it was recorded in 1979, the present live recording sat in the archives for many years before being released on CD (and apparently there is also a DVD version available, but I haven't seen it). This show was recorded earlier than the Bruford Tapes and features the original Bruford line-up including Allan Holdsworth on guitars and Annette Peacock on vocals. Some of the songs like Sample And Hold, Beelzebub, The Sahara Of Snow (both parts), and 5G are on both live albums, but others such as the two vocal pieces Back To The Begining and Adios A La Pasada - both originally on Feels Good To Me - are only here.

The sound quality of this recording is not perfect and I think it is best seen as of mainly historical interest. If you own the two studio albums One Of A Kind and Feels Good To Me as well as the live Bruford Tapes, I don't think you need this one as well unless you are a fan and collector of all things Bruford.

 Bruford: The Bruford Tapes by BRUFORD, BILL album cover Live, 1979
3.62 | 46 ratings

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Bruford: The Bruford Tapes
Bill Bruford Jazz Rock/Fusion

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars Travels with himself - and some others

The Bruford Tapes is a live album released in 1979 shortly after the One Of A Kind studio album. It features live performances of tunes taken from One Of A Kind as well as the debut Feels Good To Me. The line-up consists of Bill Bruford (obviously!) on drums, Jeff Berlin on bass, and Dave Stewart on keyboards, with John Clark replacing Allan Holdsworth on guitar. Clark was a student of Holdsworth's and was recommended by him as his replacement in the band.

The performance is wholly instrumental and even Fainting In Coils is without its original spoken word element which makes this version an improvement over the studio version in my view. The rest of the music is not improved upon though and I would recommend starting your Bruford experience with One Of A Kind before digging up this live recording. The Bruford Tapes might however be preferable over Feels Good To Me as a second purchase depending on whether you like the vocals of Annette Peacock who sang on that first studio album.

A nice addition, but not essential

 Bruford: Gradually Going Tornado by BRUFORD, BILL album cover Studio Album, 1980
3.44 | 93 ratings

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Bruford: Gradually Going Tornado
Bill Bruford Jazz Rock/Fusion

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars Bruford's end

This album appeared just one year after the well-regarded One Of A Kind, but it is nonetheless quite different in style compared to that album. While One Of A Kind was an all-instrumental album (with the exception of the annoying spoken word passage on Fainting In Coils), Gradually Going Tornado features lead vocals by bassist Jeff Berlin on several tracks. Berlin also wrote one of the album's tracks on his own and co-wrote another. The style of many songs could perhaps be called progressive Jazz-Pop and several tracks remind me of Gentle Giant circa The Missing Piece to Civilian. Another comparison could perhaps be Steve Hackett solo around Cured and Highly Strung.

Guitarist Allan Holdsworth is no longer involved here, but he has been replaced by a student of his called John Clark apparantly on Holdsworth's recommendation. Clark has learned well from the master as he does indeed sound just like Holdsworth. Dave Stewart remains behind the keyboards and the most noteworthy thing about this album for me is the ten minute plus closing track Land's End penned by Stewart. This is an altogether more symphonic piece which makes it stand out from the other tracks.

Overall, I enjoy this album less than One Of A Kind but more than the debut Feels Good To Me. This was to be the end of Bruford as a band as Bill went on to other projects after this recording including further work with King Crimson and Anderson Bruford Wakeman Howe (in which he brought Jeff Berlin with him) and Yes' Union.

Gradually Going Tornado is worth having but hardly an essential album.

 Bruford: One Of A Kind by BRUFORD, BILL album cover Studio Album, 1979
4.10 | 279 ratings

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Bruford: One Of A Kind
Bill Bruford Jazz Rock/Fusion

Review by stefro
Prog Reviewer

4 stars A much-admired yet occasionally criticized slice of progressive jazz-fusion, the second album from Bill Bruford's group picks up pretty much where debut predecessor 'Feels Good To Me' left off. Featuring crisp production values, a synthesizer-heavy sound and some dazzling technical play, 'One Of A Kind', despite its general excellence, seems to be a true marmite album. The reason? The era of its creation. Issued in the post-punk days 1979, 'One Of A Kind' came pretty late-in-the-day for a jazz fusion album, and at a time when many progressive-minded groups were going through a period of rapid change. Stylistically at least, this didn't seem to affect Bruford, yet the technology and production techniques of 1979 had moved on considerably since the days of 'Third' and 'Elastic Rock' and as a result there is many an old-school fusion fan who simply cannot accept the shiny, synthesized sheen or gated drums found throughout the album. True, 'One Of A Kind' maybe lacks the deeply cosmic ambience of the genre's very best efforts, but you really shouldn't let that put you off. Once again joined by ex-Soft Machine guitarist Allan Holdsworth, bassist Jeff Berlin and former Caravan and National Health keyboardist Dave Stewart, Bill Bruford's commitment to producing truly progressive fusion isn't in question, and his band demonstrate their individual and collective skills with a quite superb collection of tunes. Yes, it sounds a bit 1980's, but so what. The actual melodies, breaks and rhythms belong in the same class as the likes of Nucleus, Soft Machine and Return To Forever, and, unlike early-eighties supergroup Asia, which featured four prog-rock legends and authentic Roger Dean artwork yet actually produced nothing more than lightweight pop-rock, this is no ersatz legend meet designed to drum up profile and cash. It's the real thing. Highlights abound, yet for the purists both the snazzy opening rhymes of 'Hell's Bells' and Bruford's own two-part piece 'The Sahara Of Snow' showcase the quartet at their very best. Indeed, there is a rarely a duff moment to be found, and even when the group lean deeply into rockier realms they maintain a deep sense of jazzy menace, as the six-minute 'Fainting In Coils' demonstrates. If it's Mingus, Coltrane and Baker you dig then maybe 'One Of A Kind' isn't for you. However, those with a penchant for the cosmic strains of Chick Corea or Miles Davis circa his electric period could be in for a treat. STEFAN TURNER, STOKE NEWINGTON, 2015
 Bruford: One Of A Kind by BRUFORD, BILL album cover Studio Album, 1979
4.10 | 279 ratings

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Bruford: One Of A Kind
Bill Bruford Jazz Rock/Fusion

Review by FragileKings
Prog Reviewer

3 stars I love Bill Bruford's playing with Yes and I heard some great stuff with King Crimson. Furthermore, I enjoy hearing him speak on music documentaries. I read his autobiography and he cited "One of a Kind" as a favourite album, along with King Crimson's "Red" which I also like. Then in Stephen Lambe's book, "Citizens of Hope and Glory: the Story of Progressive Rock," the album is mentioned as one of 65 albums worthy of hearing. My curiosity piqued, I ordered the album earlier this year.

The album opens with a quick steady beat on what sounds like an early electronic drum or a large sheet of thick plastic and is presently joined by a jolly synthesizer rhythm that made me think, "Oh, good gravy, no! Not another Cozy Powell!"

Several years ago, I bought "Over the Top", an album by Cozy Powell that featured Don Airey, Gary Moore, and possibly a guest appearance by Jeff Beck if I recall correctly. I had high expectations but the album was almost embarrassing to play. Most of the music was written by Airey (who I think is a remarkable player) and was almost like supermarket muzak in sound with added classical and jazz references. Blame the synthesizer sound. I might have played the album through twice before finally selling it and deleting it entirely from my iTunes library.

Fortunately for Bruford and me, the music of this track does become less embarrassing and more enjoyable, though for a piece of music with a title like "Hells Bells" I would have expected something less like a pop song treated to muzak and then mixed with jazz.

The rest of the album sounds better most of the time. The main problem I have here is that jazz / rock is not something I have added to my music collection prior (except for Dixie Dregs) so I have a hard time loving the tunes as much as someone with a developed lexicon in Canterbury and other forms of jazz fusion rock. "One of Kind" has a tendency for each track to sound a little similar to the others. Of course they are all distinct. The first 30 seconds of each track will tell you that. But there's a kind of formula that insists that each track have some drama somewhere, some melody somewhere, some slower lounge jazz parts, and some flash solos. Just hit shuffle.

Bruford doesn't try to show off as he did when he was younger. Instead he chooses safe 4/4 beats much of the time and adds in fills when required. The times his playing perks up my ears is usually a well-timed and effective drum fill as the music transfers from one part to another. In his autobiography, however, he said that he was happy to write music and work it over with talented musicians and let them create the fabulous music out of his offering. I would say that he has achieved that here.

Allan Holdsworth is of course a wizard during his solos. His technique clearly must have inspired many young guitarists who would contribute to the sound of the rock guitar in hair metal bands in the 80's. There is again a kind of sameness at that crops up at times. Holdsworth will play a few melodic notes and then do a quick run of fingers over the fret board on many of the tracks. "Five G" features some fuzz tone playing that is a nice variation on the album. Basically, I'm left with the impression that Holdsworth can do amazing things with the guitar but repeats himself frequently.

Dave Stewart uses a variety of sounds from his polysynthesizers, some of them more effective and pleasing than others. "One of a Kind" part one employs a keyboard setting that sounds really dated. I can't imagine how they thought this sound was a good one. "Byown, byown" go the keyboards. "Hey, great sound. Let's use it on the album." His choice for sound setting in "Travels with Myself - And Someone Else" includes what must have been labelled as "flute" or "clarinet" but like so many early and also cheaper synthesizers these days too, it doesn't really sound like what it is supposed to sound like. All the same, Stewart makes it work here. "The Abingdon Chasp" includes some pleasant lounge jazz piano as well in parts.

Jeff Berlin deserves mention as the guy cannot be allowed to play just an ordinary bass line on any track that I noticed. His genius as a bass player really shows through even when he's just playing the bass behind the soloists. He also gets a cool bass intro on "Five G" and a frenetic solo elsewhere.

Though there are a few tracks that have moments that sound great to my ears, the composition to win it for me is "Fainting in Coils". It has a dark beginning and some terrific jazzy keyboards. Parts are light and simple, others darker and suspenseful. This track treads over a few different terrains and serves as a great summary of the album while holding enough excitement to stand out as the pick of the litter. Everyone really lays into it for the conclusion. Aside from this track, there are excellent parts to crop up throughout the album and tracks like "The Sahara of Snow" parts one and two and "Five G" are also very good examples of this band's abilities.

Though the music may sound a little repetitive at times and I am quite the novice at this point, I still think the playing is superior. I personally can't quite feel obliged to give it four stars because I find it hard to consider this as an excellent addition to just any prog collection as there are surely people like me who can't quite be so thrilled about the jazz element. On the other hand, if you love jazz fusion, jazz, or Canterbury then this might just be not only an excellent addition but an essential one. So take note that my three stars are for my taste personally and I fully recommend this album to anyone more inclined to appreciate it.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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