A Quote by Joe Lovano
I'm trying to be expressive on my instrument and conduct as I'm improvising. So I'm conducting with the melodies and the rhythms that I play. And so it's a very organic way. It's a lot like Charles Mingus played, cuing people in from what you play and how you play it rather than standing in front of a band, conducting and pointing.
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The art of conducting consists in knowing when to stop conducting to let the orchestra play.
Most of the time, I'll be conducting the orchestra, but there will be some pieces that I'll be playing an instrument as well, just because I love playing. There's pieces where I want to grab an instrument and play with the rest of the group, like 'The Light of the Seven,' for example; I would love to play the piano for that.
Every time I sit down in front of my piano, I like to improvise with the instrument. It depends on my mood of that day what kind of melodies and rhythms I am playing around. Sometimes, even before starting to play I already have a quite clear picture of a song I would like to compose, or at least the sound of it.
It's hard to say. Whenever you play with a group of people for a long time it influences the way that you play with others. They were all very defining in their own way and all affected the band in one way or another. I don't think they are so obvious in the music. The fact is that The Lawrence Arms is the culmination of a long search of trying to find people who play well as a unit.
I'd rather have people dislike my style than change it. If someone says, 'Hey, Yngwie, you play too damn much,' I don't care. They way I play is the way I like to play. If people like it, great. If they don't, it's still fine with me.
One interesting thing - I play bass and guitar and stuff like that. I know those instruments really well. But I don't know how to play clarinet or trombone or any of these other instruments. I don't actually know how to play ukulele even though I've played it a lot in the past. Because of the weird tuning it's not exactly like a guitar. That's one of the reasons I like that instrument - it makes for surprises. It's not so predictable as the bass or the guitar is for me.
I do so play an instrument! I play air! I play the air with my fingers, and I'm in touch with the deepest emotions within. It took me a while to learn that whatever I feel like doing is the right thing. If I want to play an invisible instrument, I will.
I feel my spot is somewhere between a bass player and a rhythm guitar player. I play with a pick. I play very aggressively. I always have a distortion pedal in line, and I play less melodies and do more stuff against the guitars that create melodies.
I'd say it's harder to play with an acoustic guitar strapped over your shoulder for a few hundred people than it is to play in front of thousands with an entire bombastic band behind you. After all these years, I still get nervous in front of people. I can't help it.
Learning to play old instruments was a challenge. How do you learn an instrument no one has played in hundreds of years? The ones that are used today, I was adamant not to hear anyone else play that instrument. I want to approach them as a child and on the basis of each instrument. I wanted my voice to come through, not someone else's.
The spirit of playful competition is, as a social impulse, older than culture itself and pervades all life like a veritable ferment. Ritual grew up in sacred play; poetry was born in play and nourished on play; music and dancing were pure play....We have to conclude, therefore, that civilization is, in its earliest phases, played. It does not come from play...it arises in and as play, and never leaves it.
I like playing at public schools. I like when there's more of a diverse audience. I'll play wherever people want to hear my music, and I'll be glad and grateful for the opportunity, but I'd rather not play for a bunch of white privileged kids. I'm not meaning that in a disrespectful way; you go where people want to hear your music. So if that's where people want to hear me play, I'm glad to play for them. But I'd rather play for an audience where half of them were not into it than one where all of them were pretending to be into it, for fear of being uncultured.
But basketball was always something I was good at, that I was passionate about. I just didn't have the confidence to play in front of people at the time, at that early age. Now, I feel like I'm ready to play in front of people and play on the big stage.
I'd say it's harder to play with an acoustic guitar strapped over your shoulder for a few hundred people than it is to play in front of thousands with an entire bombastic band behind you.
Every player, they should sit down and have a meeting. They should agree, 'this is how we play Nadal, this is how we play Federer, this is how we play Djokovic.' Then, all try to play them the same way. The right way. First you have to play the right way, then you need to play well.
When I wrote 'East,' I wanted a completely earthy, very sexy, very violent play, so I wrote in verse. I found it not only satisfying but releasing. It gave me an opportunity to play with language. We never played the characters like the yobs that they are, but rather in a slightly heightened way.
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