A Quote by Lester Bowie
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.
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People have to fear England and not want to play us. The only way of doing that is to play at a high tempo and win games.
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.
Trios aren't really geared for slide unless you're gonna play chords, or play that simple George Thorogood style. It gets pretty thin when you play single note lines.
When I tried to play something and screwed up, I'd hear some other note that would come into play. Then I started trying different things to find the beauty in it.
He dreamed of amassing musicians from all over the world in Woodstock and they would sit in a field in a circle and play and play. It didn't matter what key or tempo or what melody, they would keep on playing through their discordance until they found a common language.
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.
When i play in Las Vegas I play for money, when I play in Miami I play for holidays but when I play in #India I play for Love
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.
Villains can often be one note and I would say in that case, it’s not fun to play the villain. It’s fun to play the villain if he a) has dimension and b) the villain gets to do all the things in the movie that in life he would get punished for. In the movie, you’re applauded for them if you do them with panache. And so that’s why it’s more fun to play the villain.
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.
What I enjoy about the live experience is getting onstage, being handed a guitar that is in tune, taking it off mute, knowing that the very moment I want to play a note, I can play it. People are waiting on me and I'm waiting on me, and I have no idea what I'm going to play. That's the biggest joy in life.
In my world, the first thing I reach for is the sound. Technique is Ok, but if you got the technique and I got a good sound, I'll beat you every time. You can play a thousand notes and I can play one note and wipe you out. What I reach for is ... a sound.
It is hard to play Blue Suede Shoes. I know everyone has heard it 10 million times, and that makes it even harder to play it, but there's a very laid back tempo on that. I was surprised at how slow it really was.
Mostly, whenever I'm booked to do instruction, I just play a little bit and get people to ask questions. We'll play some music for 'em, 'til somebody hollers out, 'Play 'Milk Cow Blues' or 'Play 'San Antonio Rose.' We play requests and demonstrate our music.
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.
There are some great teachers who have had great students, but they themselves can't play a note. I don't understand it, because the most I learned from my teacher was just hearing him play.
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