A Quote by Gavin Bryars
The virtuoso element in jazz playing, all those very fast runs in the upper extremes, simply doesn't appeal to me. That's why I don't want to make my concerto "virtuosic" in the sense of a technical show-off. I want a beautiful sound and a melodic and lyrical line. I am more interested in the way someone can play musically.
Related Quotes
I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
I wanted to show off - a simple impulse or drive; in much the same way as some kids wanted to play football, I wanted to show off. Not complicated in that sense, very natural; it just depends on how you want to show off.
Why do you have to use me to show off? If you want to show off, then why don't you learn to play chess." - Ch. 5
I think there are two types of photographers, those who want to document the world and those who want to create their own world. I am more interested in documenting the world and presenting it to people with the question attached, 'Does this make any sense to you?'
As long as there is democracy, there will be people wanting to play jazz because nothing else will ever so perfectly capture the democratic process in sound. Jazz means working things out musically with other people. You have to listen to other musicians and play with them even if you don't agree with what they're playing. It teaches you the very opposite of racism and anti-Semitism. It teaches you that the world is big enough to accommodate us all.
I don't know if I'm selfless - I still want to make a great record. I want to make a hit record. I want to tour; that's not completely selfless. But the truth is I'm not interested in people coming to my show for me as much as I am for them coming to my show for themselves. That's always been how I am.
I definitely want to show how beautiful the marathon can be. I am the opponent of all those who find the marathon bad: the psychologists, the physiologists, the doubters. I make the marathon beautiful for myself and for others. That's why I'm here.
Working with the doctors is a fascinating two-way process. I am interested in what they suggest about why I'm the way I am. But if they could make me 'normal', I wouldn't want that. I've been like this for so long, it's what makes me .
You hear a Willie Nelson solo, he doesn't play real fast, but it's so melodic and beautiful. It's kind of, to be human is to have space and not show all your stuff all the time.
I love the name 'Stella McCartney.' It's a beautiful name the way it rolls off the tongue. A couple of years ago, I wrote a cello concerto and used that as the basis for the rhythmic and melodic structure of the main motif of the cello part.
I perceive the world in fragments. It is somewhat like being on a very fast train and getting glimpses of things in strange scales as you pass by. A person can be very, very tiny. And a billboard can make a person very large. You see the corner of a house or you see a bird fly by, and it's all fragmented. Somehow, in painting I try to make some logic out of the world that has been given to me in chaos. I have a very pretentious idea that I want to make life, I want to make sense out of it. The fact that I am doomed to failure - that doesn't deter me in the least.
I had always been a jazz fan - Django Reinhardt, Kenny Burrell, Wes Montgomery, Joe Pass, the early George Benson. And I come from the Hank Marvin melodic upbringing. So blues, I loved, but I also liked jazz. Therefore, my style was more lyrical.
I think there are more limiting factors in my career than just being chocolate. I think being a curvy girl is also a factor. Being someone with natural hair is also a factor. Those are things that I can't change. Personally, I don't want to live with limitations. If there comes a time where I am dying to play Juliet or Macbeth, I want to make those avenues for myself. The world might limit me, but as the type of artist I am, I'll create those opportunities.
Sometimes I think it's easier to play someone who's very, very different from yourself. Besides, I wouldn't want to play people who are just like me; that would get awfully boring very fast!
If you like looking at 'Starry Night' or water lilies or whatever, then why does it matter if it's an original? If the artist is still alive, and you want to support them, I get it. But if you want some famous dead guy's work, that's just a way for rich people to show off. It's the upper-class version of driving a giant Hummer.
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.
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