Jack Bruce & His different Projects

2LM:

>Мне ОЧЕНЬ приятно наконец-то найти фанатов Джека!
>А то я уже думала что не суждено. Я безумна рада,
>что он активизировался и начал во всю гастролировать
>(жаль что к нам его не тянет...)

И мне ТОЖЕ приятно!!)))
Ну может ещё не всё потеряно в плане его приезда. По-крайней мере, когда он приезжал в августе 1998 года, в составе группы Ринго Старра, он себя очень активно проявлял (сам лично на концерте убедился!!), т.е. был, как Ринго обычно говорит про своих музыкантов: THE STAR IN HIS OWN RIGHT!!!! А вообще, мне тоже нравится его сегодняшний настрой!!! Новое совместное творение с Робином Трауэром произвело на меня колоссальнейшее впечатление!!! Так что, ждёмс!!)))

ага.. и еще надо не забывать для приличия постоянно ныть ему в гостевой книге "ну когда же ты наш любимый приедешь"! это , к сожалению мое любимое занятие! концерт с Ринго видела только на двд т.к. когда он приезжал мне было лет ... ну кроче мало..мечтаю увидеть Джека.... т.к. Джона Энтвистла я уже прфукала..

Летом 1992 года был на концерте Jack Bruce Trio в Варшаве. Несмотря на то, что шоу проходило в рамках "Варшавских джазовых дней", Джек выступил с рок-программой, чем вызвал недовольство джазовых снобов (вечером слушал возмущенные комментарии радио "Z"). В составе были ударник Саймон Филлипс и гитарист Блюз Сарацино. Супер-концерт!

Не честно так дразниться ... я тогда только в школу начала ходить... а вот интересно запись этого концерта где-то можно найти?

Недавно Джек Брюс порадовал общественность дуэтом с Яном Гилланом!!!!

2LM:

>Недавно Джек Брюс порадовал общественность дуэтом
>с Яном Гилланом!!!!

Весьма любопытно. Интересно, чего исполняли???

знакомьтесь

2LM:

>


>знакомьтесь

Спасибо, очень интересная подборка концерта!!! Там есть ещё масса интересного с того концерта, надо бы запостить!!

С этого же концерта, правда качество звука очень слабое, но всеравно, Jack Bruce: White Room:

Да я в курсе... я же помешана на Брюсе. Пэтому стараюсь ничего не пропускать с ним.

01

jДжек выпустил бокс-сет
http://www.cherryred.co.uk/esoteric/artists/jackbruce.htm
который не может не порадовать всех его поклонников.

From The Sunday Times
June 1, 2008
Jack Bruce, ace of bass
Who are the best bass players of all time? ‘Simple,’ Jack Bruce says. ‘Jamerson, McCartney, Pastorius and me’

Dan Cairns

There can’t be many rock musicians who, when looking back over their career, will drop the names of Schubert, Bach, Beethoven and Messiaen into the conversation. But then, Jack Bruce is not your average musician. Nor, as the endless online polls on the subject demonstrate, is he exactly average in the bass-guitar department. Indeed, many consider him to be one of the greatest bass players of all time.

This accolade, and his membership for just over two years in the late 1960s of a rock trio alongside Eric Clapton and Ginger Baker, are what define him for most music fans. Yet, as Can You Follow? – a new six-CD retrospective of his recordings from 1962 to 2003 – makes clear, Bruce has achieved much more, and of a far greater variety, than his work with Cream and his performances as a bassist suggest. “Most rock stars are very good at one thing,” he says, “and no disrespect to that. But I would have been bored in five minutes if that was all it had been about.”

This whittling down of his musical life has caused him grief in the past. Today, though, he seems sanguine about such a potted, not to say selective, biography, and he is refreshingly free of that false modesty that, like shyness, can be so attention-seeking and suspect.

Ask him who he regards as the best bass players in pop and rock history (see box) and he answers at once: “If you’re talking electric bass, it’s very, very simple: James Jamerson, Paul McCartney, Jaco Pastorius, me.”

When, inevitably, the subject of Cream comes up, he fires out anecdotes like a machinegun, but he also says: “Even Eric, with his tremendous solo success – it’s still Cream that people want to talk about. He complains about it too.”

To trace Bruce’s bass-playing style(s), let alone his far-ranging work as a songwriter, you have to go back to his childhood, when, encouraged by musical parents, he studied piano, cello and composition at the Royal Scottish Academy of Music and Drama, played in the Glasgow Schools Orchestra, formed a skiffle group and, as a teen, got his first gigs on upright bass with a local dance band. This wasn’t just dabbling, even then: it was total musical immersion. His father played trad jazz at home, his older brother its more modern excursions, and his mother taught him Scottish folk songs. The blinding flash occurred a little later, shortly before Bruce arrived in London in the early 1960s and, by happy accident, fetched up in Alexis Korner’s band Blues Incorporated with, among others, Charlie Watts and, later, Baker.

“I was working in Italy on an American air base,” Bruce says, “and I got very friendly with a lot of the black guys there. And that was when I first heard [Charles] Mingus. I immediately realised that that was what I wanted to be: a bass player who composed. I knew that I wanted to write, but I hadn’t put the two things together. As soon as I heard him, that was it.”

It would, however, be a while before Bruce became established as a songwriter. Fans would contend, though, that he was writing all the time: on his bass.

The melodies Bruce magicked from his instrument have influenced generations of bass players. Informed not only by jazz but by “the whole contrapuntal thing in Schubert” and the Bach cello works he studied as a child – “That is nothing if not bass parts,” he says – Bruce soared beyond the instrument’s accepted limitations, sidestepping a song’s melody, subverting it, complementing it, in some cases simply launching his own subgenre within a three-minute song. He never, he says, regarded the bass as, for want of a better phrase, second fiddle, though many did. “There was this whole thing about playing the bass,” he says, “that was separate from anything else – a certain special aspect to it. It wasn’t to do with being seen as having a supporting role. Bass playing was an art apart from music. The pecking-order thing never really applied.”

Before what he describes as the “madness” of Cream, Bruce led a charmed if chaotic life with Korner, the Graham Bond Organisation, Manfred Mann and John Mayall. When he first took up with Blues Incorporated, the band played what Bruce scathingly calls “society gigs: Lady Londonderry’s ball, stuff like that – because Alexis was a hooray. We’d do things like Lord Rothschild’s party: that was quite a gig. Ginger, who was using a lot of dope at the time, ended up asleep in Lord Rothschild’s bed, and I remember flouncing off down the drive and his lordship running after me going, ‘Please don’t go.’ And the Duke of Edinburgh coming up and saying: ‘Could you play a waltz?’ ‘No we f***ing can’t.’ ” Drugs stalked Bruce too, especially after Cream’s demise. Albums such as the superb Songs for a Tailor and Harmony Row were acclaimed but sold on nothing like the scale that Cream’s records had. Musically, Bruce returned to the spirit of inquiry that had guided him since childhood, but, in commercial terms, this diluted the brand and, despite intriguing collaborations with John McLaugh-lin, Billy Cobham, Carla Bley and David Sancious, he never hit the heights again. By the late 1970s, his addiction was life-threatening, and it took the calming influence of his second wife to get him back on track. Since then, he has produced a succession of albums that vindicate the claims of some that Bruce was one of the original world-music prophets – and he reunited, finally, with Cream in 2005.

Liver cancer almost killed him in 2003, but these days, sitting sipping tea demurely in a London hotel, he is a picture, if not of health, then of gnarled and defiant fortitude. I ask him if, in hindsight, he regards Cream as an anomaly.

“I honestly think,” he replies, “that if it hadn’t been for that band, I would have had a perfectly respectable career in perhaps a more esoteric way.”

Can You Follow? – not to mention some of the greatest bass lines ever recorded – deserves praise a little more wholehearted than merely “respectable”.

Deep down, I suspect he knows that. Who needs false modesty when you’re as great as Jack Bruce?

Can You Follow? is released on June 16 on Esoteric

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article4025183.ece

An interview with Jack at the 2007 Rock & Roll Fantasy Camp in Las Vegas is now available as a podcast.

Интервью интересно ещё тем, что Брюс рассказывает про разногласия с Бейкером, которые снова возникли на октябрьских концертах 2005 года реньюниона CREAM в MADISSON SQUARE GARDEN! Что, несмотря на это, они всеравно остались хорошими друзьями! Про Клэптона тоже было сказано масса тёплых слов!!

http://cdn2.libsyn.com/rockandrollfantasycamp/RRFC_2007_Las_Vegas_Jack_Bruce.mp3?nvb=20...

Послушать бы концертник супер-группы Rocket 88 выпущенный в 1981 году:

http://en.wikipedia.org/wiki/Rocket_88_%28band%29

The East Anglian Daily Times has run a feature story on Jack. The interview includes mention of several of Jack's upcoming projects.

Интервью примечательно тем, что Брюс активно рассказывает про громадное количество планов, например: запись третьего альбома трилогии афро-кубинского характера, запись очередного совместного альбома с Робином Трауэром, участие в концерте, посвящённом легендарному барабанщику - Тони Уильямсу, а также, он не исключает, что может произойти ещё один реньюнион CREAM!!!! По-крайней мере, он говорит, что они планируют встретиться в октябре и всё обсудить!!!

“I THINK it will happen again, yes,” says Jack Bruce, sitting in the sunshine of his Suffolk garden. “Probably just one more time.”

Forty years after Cream split up, the singer and bassist of one of the 60s biggest bands is still answering the same question: are you guys getting back together?

This time, his response is positive, even if he stops himself. “I can't say anything more than that. But we are meeting up in October.”

Jack last shared a stage with his celebrated bandmates Eric Clapton and Ginger Baker three years ago for a string of shows at the Royal Albert Hall and Madison Square Garden. But that might not be the end of the story of the first “supergroup”. Not quite.

It would have happened already, he points out, if Led Zeppelin hadn't “hijacked” the tribute show to Atlantic Records co-founder Ahmet Ertegun in December. “We were the first band that was approached, and we agreed to do it at the Albert Hall; a nice, respectful tribute,” he says.

“But it suddenly changed to the O2 and both me and Eric thought 'no, we don't want to do that, it's too commercial' - so it became the Led Zeppelin show.

Jack has an extra incentive for wanting to do it all again. For the reunion in 2005, he was still suffering the after-effects of a liver transplant five years ago, which he needed after he was diagnosed with cancer. The transplant was a success, but a series of infections almost killed him. He knows he's lucky to still be here.

“I was quite ill for a long time after the operation. I was written off a couple of times - but they obviously didn't know me! I wasn't prepared to go yet. I was in a bad way, in a coma and it was touch and go. But the team at Addenbrooke's Hospital - and the person who donated the liver - saved my life. I'm very grateful to them.

“I was actually in hospital when the idea came up to do it (the Cream reunion). I wasn't well enough to walk, or talk. I wrote 'okay, I'll do it' in spidery writing on a piece of paper. It gave me a motivation to get better.

“I pretended I was well enough to do it, but I wasn't really. Now I'm firing on most of my cylinders I would like to do it again, selfishly, just to enjoy it this time.”

But that's not all Jack has on his agenda. Next month he's off to the States for a 22-date festival tour, which he says that will finance his plans to travel to Cuba record the third in his trilogy of Latin albums. He also intends to go to Japan for a tribute show to Tony Williams, the late drummer, and is preparing to do a big band record for the BBC later this year. Furthermore, he hopes to start work on a new album with the guitarist Robin Trower next year (they released their first album together, Seven Moons, in February). Not bad for someone who's just become a pensioner. “I don't feel 65,” he chuckles in his warm Glaswegian tones. “But then I do have to look in the mirror.”

JACK insists it's merely a coincidence that the release of his six-CD, 110-song career respective box set Can You Follow? arrives so soon after his 65th birthday. It's definitely not a statement of retirement, he's at great pains to point out. It is, however, a vast and varied body of work, from blues to rock to pop to jazz, taking in his early days as a jobbing musician, the power and the glory of Cream, a host of brilliant and bizarre collaborations, and the high spots of his 15 solo albums. "I wanted to call it My Life in a Box, but the record company wouldn't let me," he beams. "There's everything in there. It starts off in black and white, then goes into technicolour and comes right up to almost the present day, it reflects the times I've lived in. The title sounds a bit arrogant, but it wasn't my idea!”

By his own admission it's an "esoteric" collection; it's even released on a record label called Esoteric, as if to emphasise the point.

"Obviously it's thanks to the success of Cream that I can do things that really interest me,” Jack says. “I have a wonderful way of working that I can do the fun, 'entertainment' things, like playing with Ringo Starr's band, and it finances my more esoteric work, such as when I work with my Latin band. I'm very lucky that I have those two sides.”

While Jack's music has never been dull, it's those classic Cream tracks that have reverberated through the decades; the killer riff of Sunshine of Your Love, the psychedelic groove of I Feel Free, the pomp and majesty of The White Room. "I wanted to write pop songs that were valid, like The Beatles,” says Jack. “Those songs are very personal to me, but they are like my children, because they have a life of their own. Like with 'Sunshine', it's amazing, I've heard that song everywhere. It's like 'hello again'. It's very interesting…it's great…I'm very pleased about it.”

He stops in thought for a moment. “The thing about Cream,” he considers, “is we didn't want to impress the audience, we only wanted to impress each other.

“We didn't change to become successful, we didn't try to follow a formula to make a lot of money.

“If we had thought that way, we wouldn't have split up, because we were at the peak of our commercial success.”

In just two-and-a-half years, Cream had put out four albums, played hundreds of shows and sold more than 30 million records. After they went their separate ways in 1968, Clapton went on to secure his status as a guitar legend, while Jack and Ginger forged their own careers, with varying degrees of critical and commercial success.

But Jack is adamant he's never tried to emulate his better-known bandmate, which a listen to Can You Follow? confirms. “That kind of success was always very important to Eric and he followed his dream. Fair play to him. But I never really enjoyed the fame. I know lots of people say that, and perhaps they protest too much, but I'm actually a bit of a loony, to put it mildly. I really don't like fame - it means nothing to me if I was to meet the Queen. I was really happy when Cream split up because we were more famous for being us than for the music. When the Kennedy children came along backstage at Madison Square Garden I thought 'wait a minute, this is not really what I started out in this for. I'm just a bass player.'”

WHILE the hit songs he penned with his friend, the lyricist Pete Brown, might have bankrolled his subsequent career, it's also his freewheeling bass playing that Jack will long be remembered for. “Playing bass is just part of me now, like breathing or walking or something,” he says. “And, yes, apparently I do play the bass in my sleep!”

His style was shaped by his classical training, having started on the cello, and the young musician was inspired by jazz greats such as Charles Mingus and Ornette Coleman. “I loved those wonderful composers and instrumentalists, and that's what I wanted to be. I took that style of playing with bass guitar and put it in a rock context.”

It's a style that has been much-admired through the years, and one that even the late, great Jimi Hendrix appeared in awe of. Hendrix had been talking about forming a band with Jack and Tony Williams at the time of his tragic death in 1970.

Jack's playing will also forever be linked with the drumming of Ginger Baker, back to his days playing upright bass in the Graham Bond Organisation. It's possibly the most volatile rhythm section in rock.

They have always quarrelled and, Jack admits with a smile, that will probably never change. “I blame him! He's irascible!” he says.

“We didn't actually have a row onstage at Madison Square Garden (in the reunion shows) but it was close. Everyone was waiting for it.

“I'm not going to chuck my bass at him - it's too valuable - although I did throw my double bass at him once.” He stops and grins. “That was a long time ago.”

But throughout the years, and at the Cream reunion shows, the onstage intensity between the two - and Clapton - is still there. “We used to take a lot of risks - I still do - and that's what makes it really interesting. It gets very intense. Although we had our problems, when we play there's magic there.”

UNLIKE many of his contemporaries, Jack has got plenty of time for today's artists. He whips out his iPod and there's Amy Winehouse and Radiohead alongside the blues of Albert Johnson and BB King and classical works of Bach and Stravinsky. “I do hear things all the time and think 'that's nice'. But I don't stick with a lot of it. I've got an overview of 50 years of music - I can just dip in and out of it.”

His legacy to music world doesn't just stop at his recorded work; all of his five children have followed his lead, albeit in their own way.

Son Malcolm, 37, from his first marriage, to Janet Godfrey, has found success as a composer, while daughters Natascha, 25, and Kyla, 23, are both talented singers and youngest son Corin, 15, is a keen singer and drummer. Natascha's debut album, Aruba Red, is out in August; art student Kyla has just graduated from Glasgow University with a first class degree.

The youngest three children are from his 26-year marriage to Margrit Seyffer, who is also his manager. “I wouldn't still be here if it wasn't for Margrit,” Jack admits. They have lived in their quiet corner of Suffolk for 22 years now.

Tragically, Jack lost his son Jonas, a talent pianist who founded the Afro Celt Sound System group, to a severe asthma attack 11 years ago aged 28, something which still has a profound effect on him.

“Anybody who has lost a child will understand; it's the worst thing that can happen, when your child dies before you. You don't know how to react. I still haven't come to terms with it. I gave up music for a year, at least. He played the piano and I just couldn't touch the piano for some time after he died. That's normally what I do as a form of meditation - sit down and improvise at the piano - but I couldn't do it.”

Having come through his own brush with death, Jack is determined to make the most of the rest of his days.

“You should go round smelling each flower, shouldn't you? Unfortunately you can't live that way - you become very precious and self-absorbed and I'm bad enough anyway.

“With the illness, I don't really talk about it a great deal because it's just something that's happened to me and I don't want to become that. I didn't want to focus on that or I'd get people saying 'well, he's pretty good, considering'. I actually think my voice is as good as it's been for a long while and I think I'm performing better than ever.” He flashes that impish smile again. “I'm a role model - for any other 65-year-old!”

http://www.jackbruce.com/2008/
http://www.eadt.co.uk/content/eadt/features/story.aspx...20Jun%202008%2017%3A12%3A20%3A247

Послушал Songs for a Taylor 1969 года. Вполне хороший альбом. Скажу еще что песня World of pain одна из любимейших мною вещей из творчества Cream.

ДВД вчера посмотрел с выступлением Брюса в Германии (80-е годы). За ударными - Билли Кобэм, на гитаре - Клем Клемсон. Весьма неплохо...