A Quote by Derek Bailey
Diversity is its most consistent characteristic....The characteristics of freely improvised music are established only by the sonic-musical identity of the person or persons playing it.
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Every kid has a laptop; everyone can make music, so in order to stand out, I think it's important to find that sonic identity, I think my sonic identity - and mine is finding these weird sounds that may not necessarily sound that musical, and make them sound musical.
At a certain point, I started playing improvised music. After a couple of years of this, I did a little bit of analysis and found most improvised music the kind I was listening to at least, which was mainly European to be as, if not more, formulaic than any other kind of music. For example, improvised pieces would often begin and end in the same way.
I think there's a huge parallel that affects my musical taste, and connections that have to do with my ethnic diversity and my musical tastes and the diversity of that. And it's interesting that, growing up on the circuit, it posed such a challenge, not only to me deciding what my identity was amongst my peers, but then on the music side, it was like trying to explain or convince people especially in the music industry that there was a place for what I was trying to do. But at the same time, I think it has a lot to do with timing and even me, like, understanding it.
As there are more online archives of improvised music, it becomes more like the daily practice of playing it. It lessens the idea of there being masterpieces of improvised music through benchmark recordings.
The most consistent musical experience I had growing up was church music.
Most Jews, like most rational persons, know that their personal identity and their ethnic identity are not one and the same.
I am an improviser, ... I improvise music. Whatever you want to call it all, it is all improvised music. I may capture it and go back and write it down for others, but it was originally improvised.
You can't think and play. If you think about what you're playing the playing becomes stilted. You have to just focus on the music I feel, concenctrate on the music, focus on what you're playing and let the playing come out. Once you start thinking about doing this or doing that, it's not good. What you are doing is like a language. You have a whole collection of musical ideas and thoughts that you've accumulated through your musical history plus all the musical history of the whole world and it's all in your subconscious and you draw upon it when you play
I march to a different drummer, whose location, identity, and musical training haven't yet been established.
When I was really little, we used to play Sega Genesis, and my older brother would play 'Sonic The Hedgehog 2,' and he'd be playing as Sonic, but he'd leave an unplugged controller for me to play with, and the whole time I thought I was playing as Tails.
One consistent good thing I can say about the music industry is that at least I can make music freely now, and I don't have to do it when I'm off of a nine to five shift or something.
If you're truly playing improvised music, I don't care who you are or where you come from, you don't know what's going to happen. I feel essentially we really don't know anything anyway, most of the times we're just guessing.
I've always liked the idea of improvised music. Improvised anything. It's what conversation is.
To make music means to express human intelligence by sonic means. This is intelligence in its broadest sense, which includes not only the peregrinations of pure logic but also the "logic" of emotions and intuition. My musical techniques, although often rigorous in their internal structure, leave many openings through which the most complex and mysterious factors of the intelligence may penetrate.
The whole point is to take from our native culture and from contemporary culture without using one art form to mimic the other, so that our native identity remains the native identity, the contemporary identity remains the contemporary identity, and the mixing of these two musical identities creates a third musical identity.
Enforced by genetics, sexual reproduction, perspective, and experience, the most manifest characteristic of human beings is their diversity. The freer an economy is, the more this human diversity of knowledge will be manifested. By contrast, political power originates in top-down processes-governments, monopolies, regulators, and elite institutions- all attempting to quell human diversity and impose order. Thus power always seeks centralization.
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