A Quote by Kurt Elling
Sometimes people have this notion that improvisation is simply intuitive leaping into the unknown.
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Improvisation is empowering because it welcomes the unknown. And since what's impossible is always unknown, it allows me to believe I can cheat the impossible.
Was there no safety? No learning by heart of the ways of the world? No guide, no shelter, but all was miracle, and leaping from the pinnacle of a tower into the air? Could it be, even for elderly people, that this was life?--startling, unexpected, unknown?
Most of my music is improvisation, and composition is improvisation. Even if I have a score, it is improvisation.
There are some people who cannot get onto a train without imagining that they are about to voyage into the significant unknown; as though the notion of movement were inseparably connected with the notion of discovery, as though each displacement of the body were a displacement of the soul.
A distaste for the new is not always fear of the unknown, but sometimes ambition. Some people don't like the new way simply because they never got a chance to master the old way.
Sometimes people that are very good at improvisation in life, meaning like stage improvisation, aren't good in films because you have to ultimately take a scene where it needs to go. It's not about just saying something that's funny. You can say something funny but if it's not on story or driving the scene to its end it's really not very helpful at all.
We tend not to choose the unknown, which might be a shock or a disappointment or simply a little difficult to cope with. An yet it is the unknown with all its disappointments and surprises that is the most enriching.
But the act, called the sexual act, is not for the depositing of seed. It is for leaping off into the unknown, as from a cliff's edge, like Sappho into the sea.
Macs are not intuitive. It's intuitive to the person who created it. It's not intuitive to me.
Sometimes it works, sometimes it fails, but that's what we face when we're dealing with improvisation.
Intuitive diagnosis is reliable when people have a lot of relevant feedback. But people are very often willing to make intuitive diagnoses even when they're very likely to be wrong.
It's fear of the unknown. The unknown is what it is. And to be frightened of it is what sends everybody scurrying around chasing dreams, illusions, wars, peace, love, hate, all that-it's all illusion. Unknown is what it is. Accept that it's unknown and it's plain sailing. Everything is unknown-then you're ahead of the game. That's what it is. Right?
Sometimes you're a psychiatrist and sometimes you're a group therapist. The dynamics in between people and the misgivings sometimes that artists have when they get into the studio because they're under a different level of scrutiny. A lot of them can be insecure about it. My job is not simply to make musical determinations but sometimes to just keep people from flipping out during the process.
When I think back now to the recording sessions, there is more improvisation than one hears. It's an ideal combination of arrangements and improvisation. Only a few people are able to listen and say what is composed and what is improvised. It's a unit.
What people think improvisation is and non-improvisation is, it's nothing to do with what you like or dislike. It's all about how it happens with certain directors and certain scenes. That's the way it works. It's not something, in general, that you can decide.
Sometimes you write passages that don't need to be rewritten. Performance is that for me. Improvisation, things that happen in the moment, are sometimes wonderful, or wonderful as a moment to be shared between performer and people, but that's it. There might be a strong bond between you and the people, a transformative night, but as a live record it might not translate.
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