- Jack Bruce
- Group of six autograph music manuscripts and arrangements
fair copies, comprising: i) 'White Room', 2 pages; ii) 'Theme for an Imaginary Western', arranged for vocal, organ, piano and bass, 2 pages; iii) 'Tickets to Waterfalls', two copies, one arranged for vocal and backing in musical notation with chords, 2 pages, the other with musical notation and chords, 4 pages; iv) 'The Weird of Hermiston', arranged for vocal, piano, guitar and bass, 2 pages; v) 'Rope Ladder to the Moon', two copies, one arranged for lead voice, cello and backing, 2 pages, the other additionally scored for guitar, bass and drums, 4 pages; vi) 'Never tell your mother...' / 'To Isengard', 'Mother' scored with a brass section, 1 page, the remaining pages with an arrangement of 'To Isengard' for vocals and guitar, 3 pages; many signed by Bruce, mostly pencil on bi-folio musical manuscript sheets (357 x 265mm. and similar), undated, occasional soiling, including coffee stains, sheets worn at extremities, one sheet partially torn along fold
AUTOGRAPH MUSIC MANUSCRIPTS BY ROCK MUSICIANS ARE OF EXCEPTIONAL RARITY ON THE MARKET. Bruce's training as a classical musician set him apart from most of his contemporaries in the rock world. At the age of 11, at the encouragement of his primary school teacher, Bruce was sent to Bellahouston Academy in Glasgow, a school well-known for its music. It was there where he discovered the double bass, but finding it too large for him to play, instead learnt the cello, which earned him a place in the Glasgow Schools Orchestra. By the age of 15, he had won a part-time scholarship to the Royal Scottish Academy of Music and Drama. Although he soon tired of the restrictions of the classical tradition, his ability both to read and write music allowed him to write his own arrangements for his songs throughout his career.
"He [Jack] plays the bass like a composer. There are lots of bass players out there who can play the instrument to death but are blissfully unaware of what's going on around them. Jack is always playing with a composer's view of the music, able to strike a remarkable balance between freedom and fluidity and still perfectly serve the needs of the song.
- Steve Swallow