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You're just sort of searching for this 'thing' and sometimes you get it and sometimes you don't. All music is imperfect, but in jazz since you're improvising, at least the way I play, I'm trying to follow my train of thought in a solo.
No, improvising is wonderful. But, the thing is that you cannot improvise unless you know exactly what you're doing.
I love being onstage. I love the relationship with the audience. I love the letting go, the sense of discovery, the improvising.
Improvising is wonderful. But, the thing is that you cannot improvise unless you know exactly what you're doing. That's a kind of paradoxical thing about improvising.
There was one thing Beethoven didn't do. When one of his string quartets was played, you can believe the second violin wasn't improvising.
Jazz vision is the fusion of music and art a real paradox of same-yet different. Here we play in exchanges, like the hardness of the key of c# major and from the softness of Db major - capturing, reflecting and improvising.
I look at improvising as a prolonged game of chess. There's an opening gambit with your pawn in a complex game I have with one character, and lots of side games with other characters, and another game with myself - and in each game you make all these tiny, tiny moves that get you to the endgame.
I don't mind doing scripted material. It's actually kind of a relief, because improvising is a little bit like screenwriting on your feet.
John C. Reilly
Jazz music should be inclusive. Smooth jazz to me rules out a certain kind of drama and a certain tension that I think all music needs. Especially jazz music, since improvising is one of the cornerstones of what jazz is. And when you smooth it out, you take all the drama out of it.
Even when I was in school shows, in elementary school doing plays, I'd always go off book and start improvising.
The trouble with the jokes is that once they're written, I know how they're supposed to work, and all I can do is not hit them. I'm more comfortable improvising. If I have just two or three ideas and I know how the character feels, what the character wants, everything in between is like trapeze work.
When we were doing 'Freaks and Geeks', I didn't quite understand how movies and TV worked, and I would improvise even if the camera wasn't on me. I thought I was helping the other actors by keeping them on their toes, but nobody appreciated it when I would trip them up. So I was improvising a little bit back then, but not in a productive way.
My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.
My younger brother and I have been writing together, mainly for fun, for years, but we've been improvising together since we were kids. Literally.
The Chili Peppers do a lot of improvising, but it's within the framework of song structures. The Meatbats is from a purely instrumental standpoint. But when you hear the term 'instrumental music' you think it's real serious stuff and everybody's playing a million notes and it's about playing fast. That's not what we do.
Even if you're improvising, the fact that beforehand you know certain things will work helps you make those improvisations successful. It really helps to have a certain amount of knowledge about musical structure.
When I worked with Robin Williams, now there is improv! He is just as funny as you think he is. We did at least five or six takes of every scene, improvising every scene differently. He was a riot.
I was improvising before I was reading music. I was just trying to play things on the clarinet by ear. I think my ear is one of my greatest assets.
Boxing is a lot of preparation and then improvising, so there are parallels to being an actor.
Every day, you have to make three hours of music, just randomly improvising, and that's a great way to weed stuff out.
Certainly one of the more common experiences in the jazz field is discovering someone new. Improvising musicians are capable of being musical travelers, voyagers. We want to join in on whatever we hear. There is a freedom to wander the musical landscape.
But one of the things I learned from improvising is that all of life is an improvisation, whether you like it or not. Some of the greatest scientific discoveries of the 20th century came out of people dropping things.
When I'm on stage, it's a little world I've created where I'm sort of the thing, so I have total control over everything that happens. When we're improvising, I'm with someone I totally trust. I know things are going to work out. I don't have those guarantees in life. There are no consequences on stage.
I enjoy songwriting. It's slow-motion improvising.
All improv turns into anger. All comedy improv basically turns into anger, because that's all people know how to do when they're improvising. If you notice shows that are improvising are generally people yelling at each other.
John F. Kennedy
Martin Luther King, Jr.
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