So, for instance, if you came to me, I'd ask, 'Do you want to write? Do you want to improvise? Why do you want to play this instrument? What do you want to do?'
Ornette ColemanRead
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So, for instance, if you came to me, I'd ask, 'Do you want to write? Do you want to improvise? Why do you want to play this instrument? What do you want to do?'
We may be coming to a new golden age of instrument making.
You not only have to know your own instrument, you must know the others and how to back them up at all times. That's jazz.
I always had a great appreciation for jazz, but I'm a very pedestrian musician. I get by. I like to think that my main instrument is vocabulary.
If you feel that you're not getting enough out of a song, change the instrument - go from an acoustic to an electric or vice versa, or try an open tuning. Do something to shake it up.
I can produce any instrument, any sound that I can imagine; it may be percussive to the audience, but in my mind it may be a piano, a melody, or a tuba, or a harp, or a harmonica. My mission is to allow people to hear the dance in its purity and up against any other type of sound or music.
I want to sound like an instrument. I want my voice and my words to marry the beat. I go with the rhythm of it and the words start to come to my mind and those words could be based on things that's been on my mind for the past year, the past month, the past week, whatever; I write it.
Poems are a form of music, and language just happens to be our instrument - language and breath.
I detest talking about myself. There is a reason why people pick up an instrument and put it between themselves and the rest of the world.
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