gmk@uicsl.UUCP (10/30/84)
Progressive Music devotees, take note: Patrick Moraz and Bill Bruford began their "Music for Piano and Drums" tour in that cultural Mecca of the midwest, Champaign, Illinois, last night. If you have any appreciation at all for talented musicians playing innovative music, this is one concert not to be missed. Even though Messrs. M. and B. have long occupied the top positions on my lists of favorite keyboardists and percussionists, respectively, they both moved up a notch after last night. The concert comprised material from the "Music for Piano and Drums" album, drum and piano solos, and several improvisations, some of which were based on themes from Moraz's solo albums. Somebody once said that the highest praise that can be given to a piece of music is that it defies categorization. If that's true, then the music they played last night deserves extremely high praise. It certainly wasn't rock, although it included some rock rhythms. Sometimes it was jazzy--but it wasn't jazz. Classically influenced? Perhaps, but not really. Moraz has always done well on electronic keyboards and he proved last night that he can do just as well on piano. (Yes, I have the "Piano and Drums" album but I had never listened to it closely.) I've long admired Bruford's work with Yes, King Crimson, U.K., and Bruford, but he has to be seen in person to really be appreciated. While watching him, I was trying to think of a way to describe his cool, (apparently) effortless technique when Patrick Moraz provided the word I was looking for: he called Bruford "the Natural". It's refreshing to see so many musicians lately breaking out of the old molds and exploring new, exciting directions. I saw the Chick Corea Septet (piano, string quartet, flute, french horn) a few weeks ago and was thrilled at the new paths that C.C. is traveling. The audience came expecting jazz but got a little classical, some contemporary/avante garde, and a lot of that unclassifiable music instead. Getting back to Moraz: I've said before on the net that I think his talents are being wasted in the Moody Blues and his performance last night certainly added more strong evidence to my case. I hope that his collaboration with Bruford is more than just a one-shot deal. I would like to see it evolve into a new super-group. I wonder if Jeff Berlin and Allan Holdsworth are still available.... (Actually, Berlin has experience with both, having played on Moraz's first solo album "i", as well as with Bruford.) One more appeal: If Moraz and Bruford come anywhere near your city on their short tour, DON'T MISS IT!!!!! ---------------------------------------------------------------------- Gary Koob ...!pur-ee!uiucdcs!uicsg!gmk "There's nothing new except what's been forgotten"
donn@utah-gr.UUCP (Donn Seeley) (11/05/84)
The Moraz/Bruford MUSIC FOR PIANO AND DRUMS album is definitely very nice -- I was quite surprised when I first heard it. Don't hold out hopes for a new version of Bruford's group with Allan Holdsworth; I understand from an interview with Dave Stewart which I read some time ago that Holdsworth apparently gets rather impatient in bands which he considers to be too keyboard-oriented, which was his main reason for leaving. Pity. Holdsworth has his own band now, IOU, operating out of the LA area; Jeff Berlin was playing for them at one point (perhaps he still is; my information is pretty old, though -- I don't even know if the band is still extant.) I have no idea what Dave Stewart has done in the several years since Bruford broke up, beyond making the memorial National Health album; does anyone out there know? Hoping Moraz and Bruford pass through SLC, Donn Seeley University of Utah CS Dept donn@utah-cs.arpa 40 46' 6"N 111 50' 34"W (801) 581-5668 decvax!utah-cs!donn