Price: £550.00 £485.00
Format: book/magazine
Artist: Bill Bruford
CatNo: 9781905792290
**Final copy, discounted price - small dents on corners to front of outer box
SOLD AS SEEN, NO RETURN**
 
The very limited deluxe version of Bill Bruford's autobiography (only 25 copies made).
 
The package contains:
 
* an exclusive Bruford Signature 10" splash cymbal made for Foruli by Paiste, forged from a proprietary bronze developed specifically for cymbals, handcrafted from start to finish by highly skilled Swiss craftsmen - only available with this book set
* a piece of one of Bill's own gig-played Paiste cymbals affixed to the book spine
* a custom handmade solander case 
* a hand signed and numbered hand bound limited edition book
* hand printed book cover with embossing
* an authentication hologram in the book
* extra material not published in the first edition paperback
* a limited edition 10" vinyl double album
* die cut record sleeves
* two limited edition art prints suitable for framing
 

 

Limited edition vinyl records: 10" double album with limited edition prints
 
Double black vinyl sleeved in black disco bags and accompanied by two numbered offset lithographic art prints, all sleeved within die cut outer bags - only available with the special limited editions of Bill Bruford: The Autobiography
 
A1 - BRIDGE OF INHIBITION: DEMO
 
Composer: Bill Bruford
Publisher: EG Music / Universal Music Publishing
Recording date: 1986
Performer: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK
 
A2 - BRIDGE OF INHIBITION: MASTER
 
Composers: Bill Bruford, Django Bates, Iain Ballamy
Publisher: EG Music / Universal Music Publishing
Recording date: October 1986
Performers: Bill Bruford (drums), Django Bates (horn, keys), Iain Ballamy (saxes), Mick Hutton (bass)
Producers: Dave Stewart and Bill Bruford
Recording location: Terminal 24 Studios, London, UK
 
A3 - PRESSURE: DEMO
 
Composer: Bill Bruford
Publisher: EG Music / Universal Music Publishing
Recording date: 1986
Performers: Bill Bruford (drums), Iain Ballamy (alto saxophone), Patrick Moraz (keys)
Producer: Bill Bruford
Recording location: Home demo, UK
 
A4 - PRESSURE: MASTER
 
Composer: Bill Bruford
Publisher: EG Music / Universal Music Publishing
Recording date: October 1986
Performers: Bill Bruford (drums), Django Bates (horn, keys), Iain Ballamy (saxes), Mick Hutton (bass)
Producers: Dave Stewart and Bill Bruford
Recording location: Terminal 24 Studios, London, UK
 
A5 - HOTEL SPLENDOUR: DEMO
 
Composer: Bill Bruford
Publisher: EG Music / Universal Music Publishing
Recording date: 1990
Performer: Bill Bruford
Producer:  Bill Bruford
Recording location: Home demo, UK
 
A6 - HOTEL SPLENDOUR: MASTER
 
Composers: Bill Bruford, Django Bates, Iain Ballamy
Publisher: EG Music / Universal Music Publishing
Recording date: January 1991
Performers: Bill Bruford (drums), Django Bates (horn, keys), Iain Ballamy (saxes), Tim Harries (bass)
Producers: David Torn and Bill Bruford
Recording location: CMP Studios, Zerkall, Germany
 
B1 - LINGO: DEMO
 
Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 1993 
Performers: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK
 
B2 - LINGO: MASTER
 
Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: May 1994
Performer: Bill Bruford (drums) with the Buddy Rich Orchestra
Producer: Neil Peart
Recording location: Power Station, NYC, USA
 
B3 - IF SUMMER HAD ITS GHOSTS: DEMO
 
Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 1996
Performer: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK
 
B4 - IF SUMMER HAD ITS GHOSTS: MASTER
 
Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: February 1997
Performers: Bill Bruford (drums), Ralph Towner (guitar), Eddie Gomez (bass)
Producer: Bill Bruford
Recording location: Make Believe Ballroom, West Shokan, NY, USA
 
C1 - ORIGINAL SIN: DEMO
 
Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 1996
Performers: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK
 
C2 - ORIGINAL SIN: MASTER
 
Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: February 1997
Performers: Bill Bruford (drums), Tony Levin (bass), Chris Botti (trumpet), David Torn (guitar)
Producer: Tony Levin
Recording location: Make Believe Ballroom, West Shokan, NY, USA
 
C3 - FOOTLOOSE AND FANCY FREE: DEMO
 
Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 1998
Performer: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK
 
C4 - FOOTLOOSE AND FANCY FREE: MASTER
 
Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: November 1998
Performers: Bill Bruford (drums), Patrick Clahar (saxophone), Steve Hamilton (piano), Mark Hodgson (bass)
Producer: Bill Bruford
Recording location: Livingston Studios, London, UK
 
D1 - TRIPLICITY: DEMO
 
Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 2000
Performer: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK
 
D2 - TRIPLICITY: MASTER
 
Composers: Bill Bruford, Steve Hamilton
Publisher: Universal Music Publishing / Copyright Control
Recording date: November 2000
Performers: Bill Bruford (drums), Patrick Clahar (saxophone), Steve Hamilton (piano), Mark Hodgson (bass)
Producer: Bill Bruford
Recording location: Livingston Studios, London, UK
 
D3 - BANYAN
 
Composer: Bill Bruford
Publisher: Universal Music Publishing
Recording date: 2002
Performer: Bill Bruford
Producer: Bill Bruford
Recording location: Home demo, UK
 
Bill Bruford’s notes on From Conception to Birth
 
It’s surprisingly uncommon practice, but I thought it might be interesting to offer some sketches of how several of my tunes began life.  These audio demonstrations - or ‘demos’ for short - are extremely rough because they were only intended for the ears of the musicians whose job it would be to bring them to life. Had they been required for a record company executive’s decision for investment - the more usual purpose of demos - more care and attention would have been lavished. Musicians will tend to see the general thrust of the music more quickly than business people, and are happy enough with the rougher stone.
 
In the visual arts it’s quite common to see preparatory studies alongside the finished work. Indeed some prefer the incomplete sketch, holding out as it does an open-ended promise of how things might be or might have been. Audio demos or original sketches of the finished musical item have been increasingly possible  with the advent of simple home-recording devices, and it was a visit to the Van Gogh museum to see the artist’s Potato Eaters and attendant sketches that provided the gestation for From Conception to Birth.
 
The vinyl album From Conception to Birth has 17 tracks. 8 demos precede the relevant sections of their 8 released masters, allowing direct comparison, and there is one additional demo that never made it to master stage. The demos reflect my chequered history in the realm of home recording. Given my efforts with electronic percussion - or perhaps because of them - it may surprise some to learn I’m something of a technophobe, and nothing of a recording engineer. Early demos were more or less straight into what we used to call a ghetto-blaster. That was followed briefly by Teac Portastudio 4-track cassette recordings, which rapidly morphed into my favourite axe, the Roland MC500. I played in the midi data from my Yamaha keyboard, and outputted to sounds from my Korg O1/W orchestra-in-a-box. Everything on sides 2, 3, and 4 was recorded that way. Low tech it certainly was, but  I was pleased with my Holdsworth ‘soundalike’ guitar playing on Lingo, my cheesy 12-string guitar that I had the nerve to play Ralph Towner before the sessions for If Summer Had Its Ghosts, and the drumming on the unreleased Banyan.
 
There is an honourable – if fatal – tradition among musicians of ‘falling in love with the demo’. In this, the composer has played his weedy version to himself so many times that he comes to hear its manifest flaws as attributes. He becomes deaf to the beauties of the new version being produced on the session, and wastes many hours trying to recreate the un-recreatable original. Not me. I was relieved and grateful, but not surprised, when this material sprang instantly to life in rehearsal rooms under the hands of the skilled musicians with whom I was lucky to play it. The way my amateurish sketches began to breathe and flex and break free from the stone-lined, midi-data encasements in which they were conceived was a constant reminder of the value of all-at-once human playing and the value of musical relationships of the flesh-and-blood rather than the automated kind.
 
I never quite made it to the laptop and software world of composition that seems made for more agile brains than mine. I had written the tunes on this album and many like them because my various bands needed something to play.  When I retreated from organising groups, that need evaporated, and I ended up mostly as an improvising musician.  Arnold Schoenberg allegedly offered the notion that all composition is just very slow improvisation, and I accept the corollary to be true, that improvisation is extremely fast composition.  Things sound best to me when the composed sounds improvised and the improvised sounds composed. I was always most comfortable in the cracks between the two.
 
Bill Bruford, June 2011