A Quote by Miroslav Vitous
I continued studying by myself in the field of jazz with my own technique of improvisation, walking bass lines, rhythms, all kinds of stuff, which I created for myself.
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But no one, when you stop to think, has ever equated abstract expressionism as a movement with jazz music. It's based on improvisation. The rhythms, the personal involvement, all of this is part of the jazz experience.
Improvisation was the blood and bone of jazz, and in the classic, New Orleans jazz it was collective improvisation in which each performer, seemingly going his own melodic way, played in harmony, dissonance, or counterpoint with the improvisations of his colleagues. Quite unlike ragtime, which was written down in many cases by its composers and could be repeated note for note (if not expression for expression) by others, jazz was a performer's not a composer's art.
I think of myself as a jazz player, and my music as a natural extension of the jazz tradition. What I'm doing is completely free improvisation ('composing in real time') with nothing predetermined. I've had a lot of experience playing many different kinds of music and several different instruments, and since I tend not to waste anything, it all shows up somewhere in the music I'm playing now.
For the last few years, I've enjoyed writing my own stuff since studying creative writing at school, and as I've grown up, I've realised how much I enjoy escaping into a world that I've created myself. So I've kept that up as a hobby.
I never called myself a jazz singer. I just call myself a vocalist because I love to sing all kinds of things.
I would not describe myself as an avid jazz fan and I am not a jazz musician myself. However, that is not to say that jazz does not play a vital and important role in my life.
Jazz is a music that really allows a person to express his deepest self, his most personal self - Africa being the primary source of jazz. Naturally, improvisation and swing are a part of jazz, improvisation being the key.
When I find myself having to share a meal with someone who simply wants to complain about the world, I almost feel myself wanting to crawl out of my skin and just sort of scurry away. But being able to pick up on that stuff and being able to easily identify the people walking towards the light instead of walking towards the darkness, that's a skill I'm very, very glad to see growing in myself.
I rather like the idea of having all my hours to myself: eating a Fudge Sundae, watching a movie, sleeping on my couch, singing in the bathroom, studying the woods, kidding around with a girl, playing cards lazily - all kinds of stuff that American brands 'shiftless.'
And more than anything, I like the improvisation of jazz. That's the same thing with DJ-ing. There's so much improvisation you can do with cuttin' and scratchin' that's reminiscent of jazz music, because it's all about how you feel. You're capturing a vibe and just going with it.
I've often cringed when I heard myself described as a jazz singer. I've always thought of myself as a jazz vocalist.
Shook is the musical universe I created. I come from a classical and jazz background and my father is a jazz pianist, so my world bears largely the marks of this influence. As a sort of gateway, I started composing my own music on the computer at the age of 13. Before Shook, I had not yet discovered the kind of music I wanted to dedicate myself to, so I did a little of everything.
I cringed when I heard myself described as a Jazz singer. I've always thought of myself as a Jazz vocalist.
I consider myself a jazz singer. I think I stick to the roots of improvisation, singing in front of the beat, behind the beat, playing with notes and harmonies.
Around age 11 or 12, I started playing jazz bass. From there, I went to electric bass and then guitar, which I kept up for a long time.
I had to figure out what to make for myself as an artist. As a producer you make stuff for all kinds of different people. I was making beats for other artists but not for myself. It was kind of weird.
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