Uploaded April 2026 | Updated September 2026, 2 hours ago
Apologies, I‘m doing far too many interviews. It started after I returned to full time performance and has snowballed since. It feels like I’m being pulled into the Commentariat.
Time was when it was a useful exercise, being interrogated in front of a camera by someone with half a brain who was capable of the interesting or even challenging question. It obliges you to know what you are about and be able to say it clearly in a very short time. Focussing on that can sharpen critical thinking. It used to be flattering, and there was always the prospect of another record sale, or of providing a light-bulb moment for a stranger in a strange land.
I seem now to be asked to comment on my comments on my own work. I’m asked to explain my views on the last explanation I offered on the same topic. How many different ways can I answer, why did I leave Yes? Isn’t it obvious by now? I have two or three stories. It was fun recounting them in my book of 2009, but 17 years later, I’m running out of ideas as to how I can simulate enthusiasm for the task.
Somewhere a line has been crossed. I’ve said too much. I’ve shared too much low-grade thinking. The online interviews are becoming more about the presenter-host than the presented-interviewee, much like the chat shows of the 70s and 80s with star hosts like Johnny Carson (US) and Michael Parkinson (UK). The job of the interviewee was (and remains) to act as foil for the presenter, in return for which she got a chance to sell her book / movie / album. Online today, the presenter thirsts for likes and thumbs up: it’s all about data and such. He hopes his prey will mouth off on something controversial. Echo-chambers and algorhythms will light up and do the rest.
Anthony Garone’s piece, however, has a refreshing integrity, edgy humour, and a real sense of enquiry. He knows we both know precious little about not very much. With luck you’ll enjoy our outing as much as I did.
#livemusic #musicimprovisation #groove #music #drumming #jazz #kingcrimson #drums #yes #drummer #tamadrums #paistecymbals
00:00.07 Bill Bruford and Robert Fripp
00:01:50 Mixing US and UK styles
00:03:11 What’s ‘weird’ music?
00:06:29 Creative risk
00:08:41 “I’m not typical”
00:09:41 Differentiation
00:12:24 Balance
00:13:03 Meaningful / Meaningless
00:16:25 Burnout
00:22:20 Coming back after 12 year hiatus …
00:22:59 YouTube
00:26:49 Traditional drum kit
00:27:31 The Bruford snare sound
00:33:50 Jam Bands
00:34:47 ‘Summertime’: How Pete Roth Trio works
00:39:07 On being a sideman
00:40:15: On becoming a musician today
00:42:55: What would younger Bill say about older Bill?
00:45:05: Composition and writing
00:50:36: King Crimson’s piece ‘Fracture’
Apologies, I‘m doing far too many interviews. It started after I returned to full time performance and has snowballed since. It feels like I’m being pulled into the Commentariat.
Time was when it was a useful exercise, being interrogated in front of a camera by someone with half a brain who was capable of the interesting or even challenging question. It obliges you to know what you are about and be able to say it clearly in a very short time. Focussing on that can sharpen critical thinking. It used to be flattering, and there was always the prospect of another record sale, or of providing a light-bulb moment for a stranger in a strange land.
I seem now to be asked to comment on my comments on my own work. I’m asked to explain my views on the last explanation I offered on the same topic. How many different ways can I answer, why did I leave Yes? Isn’t it obvious by now? I have two or three stories. It was fun recounting them in my book of 2009, but 17 years later, I’m running out of ideas as to how I can simulate enthusiasm for the task.
Somewhere a line has been crossed. I’ve said too much. I’ve shared too much low-grade thinking. The online interviews are becoming more about the presenter-host than the presented-interviewee, much like the chat shows of the 70s and 80s with star hosts like Johnny Carson (US) and Michael Parkinson (UK). The job of the interviewee was (and remains) to act as foil for the presenter, in return for which she got a chance to sell her book / movie / album. Online today, the presenter thirsts for likes and thumbs up: it’s all about data and such. He hopes his prey will mouth off on something controversial. Echo-chambers and algorhythms will light up and do the rest.
Anthony Garone’s piece, however, has a refreshing integrity, edgy humour, and a real sense of enquiry. He knows we both know precious little about not very much. With luck you’ll enjoy our outing as much as I did.
#livemusic #musicimprovisation #groove #music #drumming #jazz #kingcrimson #drums #yes #drummer #tamadrums #paistecymbals
00:00.07 Bill Bruford and Robert Fripp
00:01:50 Mixing US and UK styles
00:03:11 What’s ‘weird’ music?
00:06:29 Creative risk
00:08:41 “I’m not typical”
00:09:41 Differentiation
00:12:24 Balance
00:13:03 Meaningful / Meaningless
00:16:25 Burnout
00:22:20 Coming back after 12 year hiatus …
00:22:59 YouTube
00:26:49 Traditional drum kit
00:27:31 The Bruford snare sound
00:33:50 Jam Bands
00:34:47 ‘Summertime’: How Pete Roth Trio works
00:39:07 On being a sideman
00:40:15: On becoming a musician today
00:42:55: What would younger Bill say about older Bill?
00:45:05: Composition and writing
00:50:36: King Crimson’s piece ‘Fracture’
