Bill Bruford’s Earthworks: 30 Years On

earthworksEditions EG Records, released January 1987

Bought: HMV Oxford Street, 1987


Some musicians have a unique touch – you can identify them within a few notes. In Bill Bruford’s case, his snare drum is his main audio imprint.

But he also always had a highly-original composing style before his retirement in 2009, and both are very much in evidence on the excellent Earthworks album.

Bruford had spent the mid-’80s winding down Crimson and duetting with ex-Yes keyboardist Patrick Moraz, mostly in spontaneous improvisation mode, but now a new musical approach was called for.

He had based his career on defying expectations and he did it again in 1986, forming a quartet made up two young jazz tyros best known for their work in big-band-extraordinaire Loose Tubes (keys man Django Bates and saxist Iain Ballamy) plus acoustic bassist Mick Hutton.


Bruford chose well: Bates and Ballamy were excellent and prolific composers too. Also key to this new band was Bruford’s development of a very advanced electric/acoustic kit whereby he could play chords and melodic ideas alongside a ‘standard’ jazz setup.

This approach also chimed well with Bates’ propensity on both acoustic piano and synth. On the latter instrument, he was fast becoming almost as recognisable as Jan Hammer, Joe Zawinul, Chick Corea or George Duke.

All the ingredients add up to one of the key British jazz albums of the ’80s, showcasing a band equally at home playing Weather Report-style fusion, Eastern themes and odd-time prog as they were with ECM-flavoured chamber jazz of the type played by obvious heroes Kenny Wheeler and John Taylor.

Ballamy’s opener ‘Thud’ (inspired by the Rosenhan psychology experiment?) almost has a ska feel – if Madness had tried their hand at quirky instrumental jazz/rock, they might come up with something like this.

‘Pressure’ is possibly the album’s standout, a superb mini-suite featuring some classic odd-time Bruford mischief and lyrical piano playing from Bates.

Ballamy’s ballad ‘It Needn’t End In Tears’ still sounds like a jazz-standard-in-waiting to this writer, though its possibly a bit saccharine for some. Bruford unleashes a fine drum solo on ‘My Heart Declares a Holiday’ while Bates’ ‘Emotional Shirt’ veers humourously between an early hip-hop groove and free-jazz freakout. ‘Bridge Of Inhibition’ fuses Turkish modes with high-speed bebop.

Buoyed by state-of-the-art production (maybe a bit too state-of-the-art) and stylish packaging, Earthworks was a palpable hit by ‘jazz’ standards, selling well and turning up in several ‘best of 1987’ lists.

Some critics were of course suspicious of Bruford’s jazz credentials, but he probably couldn’t have cared less; he had always considered himself a jazz drummer anyway and knew he was onto a winner with Bates, Ballamy and Hutton.

The latter wouldn’t last beyond this first album, but Earthworks (the band) would continue to make some excellent music throughout the rest of the ’80s and for two decades beyond that. Bruford had successfully defied expectations yet again.


5 thoughts on “Bill Bruford’s Earthworks: 30 Years On

  1. Another great write-up on an overlooked gem of an album by one of the most distinctive drummers of them all. Couldn’t agree more about that snare sound. Will have to head to Mr. Bruford’s site to read more about that when time permits. I saw Earthworks at the 400-capacity Bottom Line in NYC (my all-time favorite venue that is sadly no longer in existence), probably in the early ’90s. Bruford was the epitome of cool behind the kit even though his playing was incredible. My friend & I joked that he seemed so nonchalant that he was probably composing new music in his head as he performed. Hard to believe this album is 30 years old. Haven’t played any of them in years. Will remedy that soon.

    Liked by 2 people

    • Brilliant reply, Rich. Great memories of that Bottom Line gig – would love to have seen that, and I hope you enjoy the album again when you give it a spin. For some reason which I can’t fathom, I never saw Earthworks live but did see a Bruford/Moraz duo gig in London a year or two after Crim broke up. Know exactly what you mean about his deceptive nonchalance. He was such a great tuner of his drums and such a ‘dynamic’ player that he never needed to smack the hell out of them.

      Liked by 1 person

  2. They always seemed to veer into the ‘pretty good musicians who leave me slightly cold’ box frankly. It’s all very tasteful – but frankly a bit of electric guitar wouldn’t go amiss in there…..And as for Bruford ‘retiring’ pah – you don’t retire from music.

    Liked by 1 person

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