A Quote by Daryl Davis

I've heard stories of pickup bands that can't follow, but here's the thing: If you want to play with Chuck Berry, you listen to his greatest hits and learn the format of the songs, but don't try to play it note-for-note.
As time went on, we formed a number of different bands. We played in rival, neighborhood bands. We learned more songs and we learned how to play Chuck Berry music and we learned Ventures songs.
I played trumpet in the school bands. I learned things I liked to play on my trumpet, but I didn't learn why this note goes with this note and why it produces that sound. Or how to create tension in the composition.
We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound.
I've always kind of been a little skeptical about bands that won't play their hits. That's really arrogant to me as a music fan. I do want to hear obscure songs, but like most people, I want to hear the hits, so we always play them.
The amazing thing about the cistern is that, if you're improvising in a dead room, you play your note and then you're left with your thoughts and you have to be really quick on your feet and be able to move through many different musical thoughts seamlessly. Improvising there is just, like, you play a note and then you had at least ten seconds to think, "What would be the perfect accompanying note to that?" And then you could add that note. You can just build this puzzle that was really amazing.
In jazz improv, there is no such thing as wrong notes, only notes that are better chosen and it's not about the note you play, it's about the note you play next.
The only planning I do is about a minute before I play. I desperately try to think of something that will be effective, but I never sit down and work it out note for note.
It's not the note you play that's the wrong note - it's the note you play afterwards that makes it right or wrong.
I said if you want to be Keith Richards, you've got to listen to Bo Diddley and Chuck Berry. Then I thought, "What did Bo Diddley and Chuck Berry listen to?" I said, "They listened to Howlin' Wolf and Muddy Waters." Well who'd they listen to? They listened to Robert Johnson. I said, "Ok, we'll start with that."
We would not have rock and roll without Chuck Berry, and when I first heard Chuck Berry, I fell in love with that music, and when I saw him, I changed my whole career trajectory that I was on as a kid.
If you hit a wrong note, it's the next note that you play that determines if it's good or bad.
If you find a note tonight that sounds good, play the same damn note every night!
I only have one note, let's be honest. But I'll play a different version of that one note.
Well, if you find a note tonight that sounds good, play the same damn note every night!
I know some artists who come out of country music and the three sessions a day work ethic where you walk in, and you're told you play this note, this note, and this note, and you don't vary it. I know that works great for some people. It wouldn't work for me.
I don't think I could ever be in a band if we just had to go out there and play the record note for note. I'd give up. I'd become a banker.
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