A Quote by Mose Allison
I'm improvising all the time. Everything I do is improvised. On the piano, at least.
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I enjoy the challenge of taking something which was not meant for the piano, distilling its essence and writing or improvising it for/at the piano, but having the listener forget that he or she is listening to a piano.
I've always loved improvising. That's how I write songs. Creativity has an improvised element to it.
At a certain point, I started playing improvised music. After a couple of years of this, I did a little bit of analysis and found most improvised music the kind I was listening to at least, which was mainly European to be as, if not more, formulaic than any other kind of music. For example, improvised pieces would often begin and end in the same way.
I don't think there's an improvised word in the movie. I hope not because I admire writing. Improvising is kind of gambling. It's just that you're standing up.
I was put through piano lessons when I was a kid. I say 'put through' because it was fun and I loved it, and it's been beneficial now, but it was difficult because, although I can read music, I much prefer just playing and improvising and at least finding my own way to play an instrument.
I can play piano, and I write everything on piano, but I don't really feel like a piano player, necessarily.
A puppet that starts to improvise badly is almost funnier than the puppet that's improvising well. So the show gets better when the improvising is really good, but also the show can also sometimes get better when the improvising sort of goes a little wrong and that's sort of a blessing to improvising with puppets.
I'm by no means a pianist. I think that's safe to say, but the piano, for me, I would say it's the enabler. It gave me what I needed and gives me what I need in order to write a song. And I think playing or improvising on the piano is where I feel most liberated and sort of less conscious of all my insecurities or inadequacies.
When I'm at the piano, and I'm improvising some song about something, it usually oscillates between factual, absurd, and sincere.
Sometimes I'll write without the guitar or the piano, but most of the time I'll be playing and just improvising some words. And when I get something that sounds good, a line with a story in it, I'll try and tease it out and figure out where the story is going.
This word gets overused in describing actors but I think it applies to Mike [Tyson] in this case - he was totally fearless. He jumped in and played with us comedically and improvised a lot. A lot of jokes in those scenes with him are from him improvising.
Why does the world need a Piano Day? For many reasons. But mostly, because it doesn't hurt to celebrate the piano and everything around it: performers, composers, piano builders, tuners, movers and most important, the listener.
I've always liked the idea of improvised music. Improvised anything. It's what conversation is.
John Cassavetes was there at night while I was working. After they [with his friends] discussed as much live TV as they felt they needed to, they started improvising scenes just for the fun of it and one of those scenes everybody got very interested in and it turned into Shadows [1959]. That movie was entirely improvised.
Everything that has a spare piano is 'like Satie' and everything with strings is 'filmic,' Sometimes I get annoyed when they say my stuff sounds 'like Satie'. No, it doesn't. At least, I don't think so.
I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.
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