A Quote by Carla Bley
When you have 13 horns, and one is soloing, you have 12 people to play the richest, fullest chord you could ever imagine behind that solo.
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Then I began to play. Variations on a G major chord, the most wonderful chord known to mankind, infinitely happy. I could live inside a G major chord, with Grace, if she was willing. Everything uncomplicated and good about me could be summed up by that chord.
A lot of people at my school could play the "Stairway to Heaven" guitar solo, but they couldn't play three chords of a Ramones song if their life depended on it because they didn't have the strength or ability to do it. But all I did was practice that, and the style that I eventually fell into is more focused than people would actually imagine.
I wanted to get a guitar [when I was 13] so I could play punk songs because kid taught me power chords at summer camp. He was like, "You could play all punk songs if you just learn this chord and just move it around on the guitar".
I went to 13 schools in 12 years. We moved all over the place. Music was the only thing that I could get behind... I wasn't that good at socializing. I'm still not.
By the time I was 12 or 13, I felt that I was special, because I could play the guitar and write songs.
To be clear, I normally climb with a rope and partner. Free-soloing makes up only a small percentage of my total climbing. But when I do solo, I manage the risk through careful preparation. I don't solo anything unless I'm sure I can do it.
Every album is unto itself, so whatever sounds we need to come up with, like way back when, we needed horns. So we invented the Lone Wolf Horns, and we learned how to play horns.
The richest and fullest lives attempt to achieve an inner balance between three realms: work, love and play.
I've played the guitar since I was 12, and just taught myself songs chord by chord.
I would like to visit the factory that makes train horns, and ask them how they are able to arrive at that chord of eternal mournfulness. Is it deliberately sad? Are the horns saying, Be careful, stay away from this train or it will run you over and then people will grieve, and their grief will be as the inconsolable wail of this horn through the night? The out-of-tuneness of the triad is part of its beauty.
I knew being a musician was my calling when I was 12 or 13. I started singing when I was six but didn't actually see myself being a singer when I was 12 or 13.
... We borrowed it all from Coltrane. I started encouraging everybody in the band to listen to John Coltrane - 'Check it out, see what these guys do.' They take one chord, the tonic chord, and just play all over it. 'We can do that too!' I wanted to make our music something really amazing - I wanted it to be jaw-dropping and turn on a dime and do all of those things that I knew music could do, and nobody told us we couldn't do it. I shouldn't say 'I,' though - Jerry Garcia was behind it the whole way.
I wrote my first song at 12 and remember someone asking, 'What were you going through at 12 that you could write about?' I get what you're saying, but 11, 12, 13 were the hardest years of my life. You learn everything. You learn how horrible things feel.
You have to listen to what someone is doing and help them get to where they want to go, musically speaking. I play a supporting role if someone else is soloing, and a guitarist will do the same for me while I am soloing.
There was a long period when I was younger where people always talked about my size and I was going 'but look, I can play, though, I can play' but you look at it, to have a career, 12-13 years, you've got to be more than just a brute.
When I was 12, I wanted to learn how to play the guitar, and I found a chord book in a shop, and I stuffed it down my trousers. And that's how I learned to play the guitar.
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