@musiccircle.bsky.social
This is the official bluesky page of ♬usic Ci♪cle https://linktr.ee/musiccircle
@musiccircle.bsky.social𝗚𝗲𝗿𝗿𝘆 𝗕𝗿𝗼𝘄𝗻 on drumming’s lineage.
Respect the masters.
Celebrate the future.
“The drum world is in good hands.”
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One Circle. Infinite Sound.
@musiccircle.bsky.social𝗚𝗲𝗿𝗿𝘆 𝗕𝗿𝗼𝘄𝗻’s 1977 solo with 𝗦𝘁𝗮𝗻𝗹𝗲𝘆 𝗖𝗹𝗮𝗿𝗸𝗲 feels like fusion drumming in a true flow state.
Fast, clear, physical, and still locked to the music.
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One Circle. Infinite Sound.
@musiccircle.bsky.social𝗣𝗮𝘂𝗹 𝗧𝗼𝗿𝘁𝗲𝗹𝗶𝗲𝗿 saw humanity as a 𝘀𝘆𝗺𝗽𝗵𝗼𝗻𝗶𝗰 𝗼𝗿𝗰𝗵𝗲𝘀𝘁𝗿𝗮.
Every part matters.
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@musiccircle.bsky.social𝗣𝗮𝘂𝗹 𝗧𝗼𝗿𝘁𝗲𝗹𝗶𝗲𝗿 brings quiet authority to Elgar’s Cello Concerto.
The first movement is not only beautiful.
It feels human, restrained, and deeply lived.
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One Circle. Infinite Sound.
@musiccircle.bsky.social𝗝𝗲𝗮𝗻-𝗟𝘂𝗰 𝗣𝗼𝗻𝘁𝘆 in 1984.
Electric violin, synths, sequencers, and jazz fusion opening a new sound world.
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@musiccircle.bsky.social𝗝𝗲𝗮𝗻-𝗟𝘂𝗰 𝗣𝗼𝗻𝘁𝘆 live at MIDEM in Cannes, with 𝗥𝗮𝗹𝗽𝗵𝗲 𝗔𝗿𝗺𝘀𝘁𝗿𝗼𝗻𝗴 pushing the bass into wild fusion territory.
“Egocentric Molecules” is where the room catches fire.
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@musiccircle.bsky.social𝗞𝗶𝗿𝗸 𝗪𝗵𝗮𝗹𝘂𝗺 on legacy:
History does not begin with you.
Respect the past.
Take the baton.
Move the music forward.
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@musiccircle.bsky.social𝗞𝗶𝗿𝗸 𝗪𝗵𝗮𝗹𝘂𝗺 plays “Amazing Grace” with the patience of someone who understands the hymn.
Tone, space, gospel feeling, and a saxophone line that sings.
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@musiccircle.bsky.social𝗝𝗮𝗰𝗸 𝗠𝗰𝗗𝘂𝗳𝗳 explaining Hammond organ licks.
Technique you can see and groove you can feel.
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@musiccircle.bsky.social𝗕𝗿𝗼𝘁𝗵𝗲𝗿 𝗝𝗮𝗰𝗸 𝗠𝗰𝗗𝘂𝗳𝗳 had one of the deepest Hammond B-3 grooves in soul jazz. Solid basslines, blues-heavy solos, and a quartet language that still feels alive. Follow @musiccircle.bsky.social One Circle. Infinite Sound.
@musiccircle.bsky.social𝗔𝗻𝗻𝗲-𝗦𝗼𝗽𝗵𝗶𝗲 𝗠𝘂𝘁𝘁𝗲𝗿 says put the phone away.
Live music is an energy exchange.
Be there fully.
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One Circle. Infinite Sound.
@musiccircle.bsky.social𝗔𝗻𝗻𝗲-𝗦𝗼𝗽𝗵𝗶𝗲 𝗠𝘂𝘁𝘁𝗲𝗿 says put the phone away.
Live music is an energy exchange.
Be there fully.
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One Circle. Infinite Sound.
@musiccircle.bsky.social𝗣𝗵𝗶𝗹 𝗖𝗼𝗹𝗹𝗶𝗻𝘀 with 𝗕𝗿𝗮𝗻𝗱 𝗫 in 1979.
A reminder that before the pop era, Phil was already a serious fusion drummer.
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@musiccircle.bsky.social𝗣𝗵𝗶𝗹 𝗖𝗼𝗹𝗹𝗶𝗻𝘀 drummed like someone arranging from behind the kit. Accents, fills, setup phrases, and groove placement all working in service of the song. Follow @musiccircle.bsky.social One Circle. Infinite Sound.
@musiccircle.bsky.social𝗝𝗼𝗵𝗻 𝗘𝗻𝘁𝘄𝗶𝘀𝘁𝗹𝗲 on 𝗧𝗵𝗲 𝗪𝗵𝗼 between chapters.
Funny, casual, and revealing.
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@musiccircle.bsky.social𝗝𝗼𝗵𝗻 𝗘𝗻𝘁𝘄𝗶𝘀𝘁𝗹𝗲 isolated on “Won’t Get Fooled Again” reveals the machine inside The Who. Not just low end. Melody, force, motion, and control. Follow @musiccircle.bsky.social One Circle. Infinite Sound.
@musiccircle.bsky.social𝗟𝗼𝘂𝗶𝘀 𝗛𝗮𝘆𝗲𝘀 on uniqueness:
“If you have it, it will come out.”
A drum solo can still breathe with the band.
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@musiccircle.bsky.social𝗟𝗼𝘂𝗶𝘀 𝗛𝗮𝘆𝗲𝘀 with Cannonball Adderley’s sextet in London, 1964. A drum solo built on swing, clarity, touch, and time that never breaks. Follow @musiccircle.bsky.social One Circle. Infinite Sound.
@musiccircle.bsky.social𝗧𝗼𝗺𝗺𝘆 𝗕𝗼𝗹𝗶𝗻 was never just one kind of guitarist.
Hard rock edge.
Jazz fusion imagination.
Instrumental freedom.
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@musiccircle.bsky.social𝗧𝗼𝗺𝗺𝘆 𝗕𝗼𝗹𝗶𝗻 was only 18 in this Zephyr footage. “Cross the River” already shows the fire, phrasing, and curiosity that would later connect him to Spectrum, the James Gang, and Deep Purple. Follow @musiccircle.bsky.social One Circle. Infinite Sound.
