A Quote by Bill Bruford

And I like messing around in the engine room of music. Seeing what happens in the rhythm section area. — © Bill Bruford
And I like messing around in the engine room of music. Seeing what happens in the rhythm section area.
I make make music in my own time, messing around with beats and riffs I write. Always practicing performing in my room most times I probably look like an idiot dancing around haha.
I have a West Coast rhythm section and a New York rhythm section. I've got them spread out all over the place.
I can't get very excited about a musician who can do Art Tatum because I've got the Art Tatum records. I want to hear him take that and do something that hasn't been done. And there's enough of that going around that keeps the music very exciting. There's so many great young players coming out. I think we're in some kind of renaissance, especially in the rhythm section. I mean the musicians on drums and bass and guitar are really trying to figure out different ways to bring a rhythm section together.
I think that the rhythm sections, drummers in particular, are the unsuing heroes of the music. It's the rhythm section that has changed the styles from one period to the other.
I don’t have a theoretical language for music. I’m really inspired by sculpture, so I like to say, ‘you’re not making music, you’re creating a space. You’re building a room, putting some objects in it, and seeing what happens to the objects over time.’
The thing that I always notice that dates a record is the rhythm section. With a good arranger the music can be timeless. But, rhythm can change, because heaven knows, we didn't know rock was going to come in, did we?
I like messing up the song, doing some improvisation. And I like running around the room with the mic.
I'm very proud of my area around the plate. I don't want anyone messing with my dirt.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
The heart of a music is its rhythm. The heart of rhythm section music is the rhythm.
If you don't have a good rhythm section, your band is toast; you're a bar band. Good rhythm section, you've got a chance to get out of the bar.
What makes that record special is something that is gone from music today - it's called a rhythm section.
I find motion, literally, is where ideas come from. It's almost like a built-in rhythm section. The contents of the songs are about change, and a lot of that stuff happens when you're on tour, and you wake up and you're in a different place and you start thinking about where you're going and where you've been.
With the films, it starts off with certain coordinates in the world and seeing what happens. What happens if you place yourself at an oil refinery in the Middle East? What happens if you place yourself in the White House Cabinet Room? What happens if you place yourself with Brad Pitt on the set of a film? And so on. And no matter what I capture, there is a sense of déjà vu to it, like you might have come across this visual before.
When I was nine, ten, I was super young, but I installed a program on my computer so I could start producing music. I just started messing around. Then, after a couple of years, I got better. I actually learned some tricks, so I knew what I was doing instead of just messing.
Guitarists should be able to pick up the guitar and play music on it for an hour, without a rhythm section or anything.
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