A Quote by Jimmy Smith
And then when I found my sound, it took me two and a half weeks to find my sound and when I did I pulled out all the stops, all the stops I could find.
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I think, when you're a young composer, you're told constantly that what you're supposed to do is figure out what your voice is. "What is your thing supposed to sound like?" You know: "What's the thing you do," that everyone can recognizably tell from a long distance is you and then you're supposed to be in search of that marker and you're supposed to find it and you're supposed to live there for the rest of your life. And it seemed to me, from a young age, that was what I was encouraged to do. You find a sound and that's your sound! That's what you do.
In meditation the mind stops, thought ceases. When thought stops, the world stops. When the world stops, perception stops. When perception stops, the sense of "I" as a perceiver falls away.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.
The bass, no matter what kind of music you're playing, it just enhances the sound and makes everything sound more beautiful and full. When the bass stops, the bottom kind of drops out of everything.
When I started out at about 19, 20, it took me two years just to tell the difference between a jig and a reel. It does all sound the same, but what you can find once you go in - it's never-ending. So that's my love.
The temple bell stops but I still hear the sound coming out of the flowers.
When I wrapped 'Falling Skies,' I took a trip to the Caribbean to visit my grandma, which is great. I was out there for two weeks in Grenada. Then after that, I went to Poland for two and a half weeks to go watch some of the European soccer championships.
In chanting, one tries to find one's own sound, literally, and then to go within that-to find the sounds within one's own sound, to bring out that which is within, to go into, explore and discover oneself.
Some time ago I took a trip on the Hudson and Manhattan Transit System. Not being familiar with the names of the various stops, I asked the man next to me the name of the station where we had just stopped. He replied, "I've been riding this line for fifteen years and I only know two stops: where I get on and where I get off."
Writing in the electronic world, you imagine a sound, and then you have to go and find it. It's not like imagining a flute and then making that sound materialize. That's easy!
When I see you, the World stops. It stops and all that exists for me is you and my eyes staring at you. There's nothing else. No noise, no other people, no thoughts or worries, no yesterday, no tomorrow. The World just stops, and it is a beautiful place, and there is only you.
The sound of birds stops the noise in my mind.
Meditation stops the sound-loving mind.
Sometimes I can sit at my computer and find a cool sound, or a new synth patch, and get super-inspired by that and make a track based on that sound. But the piano is where I find the inspiration and come up with the melody.
Every Bass Communion track is based on a single sound source. Increasingly I find that I'm really interested in taking a particular sound and it's almost like solving a problem. If I have a sound, the problem is how can I create a piece of music from this one sound source?
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