A Quote by Mose Allison
As far as I'm concerned, the essentials of jazz are: melodic improvisation, melodic invention, swing, and instrumental personality.
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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 love most melodic music - classical, reggae, big band, jazz, blues, country, pop, swing, folk.
Yeah, on the records, the guitars are made melodic, and I try to make it memorable. There's not much just wanking, to be honest - it's mostly melodic parts. I try not to play too many notes. It's just more instrumental music. It's a totally valid criticism if you don't like that kind of thing. It also is maybe a little anachronistic or unnecessary in a certain way.
The pianist Cecil Taylor is extremely melodic; the guitarist Derek Bailey is extremely melodic, and Ornette Coleman.
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.
Melodic invention is one of the surest signs of a divine gift.
What So Not used to be a lot more dance-y, and now it's becoming a lot more melodic. Flume has always had that melodic thing, but it's starting to become a bit heavier, so it's just difficult to navigate between the two.
In a way, composing on the melodic level is an expression of a melodic truth, almost like a geometric truth. If it has clarity, other people will recognize it. There's no way of isolating it in a gallery on a white wall and saying, "This is a work of art. This is a mathematical proof."
I'm a heaven sent instrument. My rhythmatic regimen navigates melodic notes for your soul and your mental. That's why I'm instrumental, vibrations is what I'm into.
It's always difficult to define what jazz is or what jazz isn't. To me, the only definition that I can think of is it's music where a lot of different elements are played at the same time. The harmonic, the melodic... You're pushing the boundaries on every level. That could be true of rhythm and blues as well. I'm a musician.
I had always been a jazz fan - Django Reinhardt, Kenny Burrell, Wes Montgomery, Joe Pass, the early George Benson. And I come from the Hank Marvin melodic upbringing. So blues, I loved, but I also liked jazz. Therefore, my style was more lyrical.
As far as the melodic style, I feel like I'm in my own lane.
I think the B-52's were a huge influence on Sleater-Kinney. The way that there'd be a really interesting guitar line that'd be really melodic and kind of simplistic, I really related to that. The sense of melody is really intense and fun. It's not just traditional song structures, but it's very melodic and draws you in, in kind of an immediate way.
I think when you look back at the different eras in jazz, what leads from one to another is never a melodic revolution, but a rhythmic revolution.
But in Shimabukuro's hands, as he breaks out experimental jazz, lays down a steady blues train, or shreds on rock anthems, this little jumping flea becomes a melodic monster.
It ["Begin the Beguine"] became such a hit that it superseded anything that any band had ever had. It was the first time that a so-called swing band played something melodic and still gave it a beat.
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