Bill Bruford, yksi kansainvälisesti arvostetuimmista progressiivisen rockin rumpaleista, saapuu Suomeen. Hän esiintyy Porin Validi Karkia -klubilla ja Helsingin G Livelabissa ensi syksynä.
Yesin, King Crimsonin, Gongin ja Genesiksen riveissä vaikuttanut legenda lopetti soittamisen kokonaan 15 vuotta sitten. Aika kului verkkaisesti Surreyn yliopistossa tohtorintutkintoa suorittaessa ja Rock ’n’ Roll of Famen nimitystä vastaanottaessa Yesin kanssa. Yllättävä paluu tapahtui kuitenkin uudelleen estradeille parisen vuotta sitten kitaristi Pete Rothin jazz-triossa, jonka kanssa Bill kiertää nykyisin ahkerasti ympäri maailmaa.
Trio soittaa omaa materiaalia Rothilta ja Brufordilta sekä laajalla skaalalla valikoituja lainoja Dvorakista Gershwiniin.
Bruford on esiintynyt Suomessa vain kerran aiemmin, vuonna 1999 Äänekosken Keitelejazzissa oman Earthworks-yhtyeensä kera.
Rolling Stone -lehti valitsi ’100 kaikkien aikojen parasta rumpalia’ -listalleen Bill Brufordin sijalle 16.
”A percussionist with a classical musician’s technical prowess, a jazz improviser’s subtlety and spontaneity, and a rock drummer’s emphatic drive…reinvented himself as a polymetric funk savant.”
THE PETE ROTH TRIO feat. BILL BRUFORD
Pete Roth: kitara
Mike Pratt: basso
Bill Bruford: rummut
Ti 30.09.2025
Pori, Validi Karkia-klubi
Promenadisali
Showtime klo 19.00
Liput: 49€, lapset 20€
Ennakot: kukkesand/at/hotmail.com
Ke 01.10.2025
Helsinki, G Livelab
Klo 20.00
Liput: lippu.fi
https://www.rollingstone.com/
https://www.loudersound.com/
https://billbruford.com/about/
The Pete Roth Trio
The Pete Roth Trio creates jazz for a new generation of music enthusiasts that look beyond the ordinary jazz conventions. The Trio consists of Mike Pratt on bass and featuring the legendary Bill Bruford on drums.
The word ‘jazz’ implies musicians who listen and interact; people who never play it the same way once. The Trio has those qualities in abundance, but the group’s music is also something over, around, above and below jazz. Some use qualifiers like ‘near-jazz’, ‘neo-jazz’, or ‘stadium-jazz’ to break out of the ‘old-man-jazz’ straightjacket. Phrases like that act as trigger-warnings that what the Trio plays ain’t always going to fit, or be nice. The group’s roots are firmly planted in popular music, but it seeks to expand the notion of what it is acceptable or possible to do, or represent, within that genre.
The Trio’s original music is seen as neither ‘better’ nor ‘worse’ than pre-existing repertoire, just another ballpark to play on. A song might start in a country mood, but end in an urban dystopia. A standard might reveal all, but only in the dying embers of its performance. Roth’s own compositions such as ‘Dancing with Grace’, the Trio’s collective compositions such as ‘Trio in Five’ or ‘Looking Forward to Looking Back’, or their reassembling of existing masterworks like Anton Dvorak’s ‘Largo from Symphony #9’ offer but three points of entry into the creative world of the Pete Roth Trio, a world you’re unlikely to leave without reassessing your views of what the guitar trio format remains capable of.
