I've just purchased Disraeli Gears by Cream, and although I love the album, I don't see the brilliance in Jack Bruce's lines. A lot of people on Talkbass claim he is amazing and I'm wondering if I'm missing something...

Jack's got that very special musicality that goes beyond his preferred instrument. That said, I think his bass mentality is right on the money - it fits in his music so well in terms of groove and note choices. These days I don't like his playing that much...I love Jack's dirty, distorted sound on the Cream albums though.
What made it click for me was hearing Cream doing a live version of 'I'm So Glad' that went for about 8 mins (or something). Jack just flipped the concept of solo/comping on it's head. His playing with McLaughlin and Zappa and the 'Things We Like' and 'Songs For a Tailor' solo albums are also completely digable to me.
But maybe you just don't dig him and you never will? Most of us are different in that respect. For example, I see you are a fan of Geddy. Well, his playing or music never meant anything to me and I can't understand the appeal. It's no biggie...

I've just purchased Disraeli Gears by Cream, and although I love the album, I don't see the brilliance in Jack Bruce's lines. A lot of people on Talkbass claim he is amazing and I'm wondering if I'm missing something...

well, the two people who inspired your name don't have that issue....

Before you dismiss JB, listen to "Crossroad" from "Wheels of Fire". That's one of my favorites.
BTW- Disraeli Gears and Wheels of fire were new releases when I first heard them, I've loved 'em ever since.

Before you dismiss JB, listen to "Crossroad" from "Wheels of Fire". That's one of my favorites.
BTW- Disraeli Gears and Wheels of fire were new releases when I first heard them, I've loved 'em ever since.

That live version of "Crossroads" is the best live track in all of rock history, IMHO (the second-best being Santana's "Soul Sacrifce" at Woodstock).

First of all, Cream never played that song the same way -- I've heard four different live versions (including a slower, almost country-sounding rendition from their recent reunion), and they all vary in terms of groove and pulse.

That "Wheels of Fire" version, however, is Cream "playing for their lives," as it were. Notice how Bruce holds the groove during the verse parts (along with a nice, simple, full-time groove courtesy of Ginger) but then starts wander a little further out under Clapton's solo -- which is the exact opposite of what most bassists do. What's amazing too, is how he both leads and follows Clapton's solo. At certain times, he plays figures that anticipate what Clapton will play later in the same chorus, or he will take a figure Eric has already played and vary it -- for example, right at the beginning of the second guitar solo, Clapton plays a series of hard-picked sixteenth notes (the same note, I think, with maybe a bend at the very end of the phrase), and immediately, right behind him, you have Bruce playing a similar -- but not exactly the same -- figure. It's like classical counterpoint (Bruce's training was as a classical cellist, actually).

I've not heard another bassist who has Bruce's ability to switch from "solo" mode to "groove" mode so nimbly. It's almost to the point where he's doing both at the same time. There may be faster players, or cleaner players, but none with the ability to compose lines and flesh out ideas right on the spot.

You gotta see him playing live... (in the old days) go to you tube and type:
Tales of Brave Ulysses
White Room
Sunshine of your love
Spoonful

That live version of "Crossroads" is the best live track in all of rock history, IMHO (the second-best being Santana's "Soul Sacrifce" at Woodstock).

First of all, Cream never played that song the same way -- I've heard four different live versions (including a slower, almost country-sounding rendition from their recent reunion), and they all vary in terms of groove and pulse.

That "Wheels of Fire" version, however, is Cream "playing for their lives," as it were. Notice how Bruce holds the groove during the verse parts (along with a nice, simple, full-time groove courtesy of Ginger) but then starts wander a little further out under Clapton's solo -- which is the exact opposite of what most bassists do. What's amazing too, is how he both leads and follows Clapton's solo. At certain times, he plays figures that anticipate what Clapton will play later in the same chorus, or he will take a figure Eric has already played and vary it -- for example, right at the beginning of the second guitar solo, Clapton plays a series of hard-picked sixteenth notes (the same note, I think, with maybe a bend at the very end of the phrase), and immediately, right behind him, you have Bruce playing a similar -- but not exactly the same -- figure. It's like classical counterpoint (Bruce's training was as a classical cellist, actually).

I've not heard another bassist who has Bruce's ability to switch from "solo" mode to "groove" mode so nimbly. It's almost to the point where he's doing both at the same time. There may be faster players, or cleaner players, but none with the ability to compose lines and flesh out ideas right on the spot.


Or, if you shift a perspective, Jack plays a figure and Clapton later steals it and plays it himself;)

I hate the word "anticipate".... how can you anticipate a riff if you don't know for sure the other guy's going to play it?;)

I think it's two world class musicians listening to each other.
It's the give and take that good improvising demands.

You gotta see him playing live... (in the old days) go to you tube and type:
Tales of Brave Ulysses
White Room
Sunshine of your love
Spoonful
yeah, check out live cream volume I and II and you will see why people like him--All three of those guys could improvise like no other! Plus I think a lot of perspective is lost 40 years after the fact, similar to the "I don't get Jaco" threads because a lot of folks don't realize that back in those days not everyone played like Jack Bruce, as back in those days not everyone played like Jaco. Today a lot of people do and it doesn't seem so great.

BTW, I bought a Rush CD a few years ago and was reading the inside booklet and there was a quote from geddy saying when they first got together and played, they used to pretend they were cream :D

I've just purchased Disraeli Gears by Cream, and although I love the album, I don't see the brilliance in Jack Bruce's lines. A lot of people on Talkbass claim he is amazing and I'm wondering if I'm missing something...

You need to listen to the live stuff! And then you have to realize that most bass players didn't play like that back then. So here he was playing loud and up front with distortion and playing lead bass!

Get Wheels of Fire and Good Bye Cream.

He's also a brilliant singer and song writer.

Bruce was my first big influence.

So we have moved from "What's the big deal about Jaco?" to "What's the big deal about Jack Bruce."

I think his lines in the studio supported the song and not in a "8th notes on the root" kind of way. Very groovey.

If you want "flash", seek out the live stuff (ie "Crossroads.")