A Quote by Yoshi Wada
Most of my music is improvisation, and composition is improvisation. Even if I have a score, it is improvisation.
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I don't think I differentiate between composition and improvisation. Improvisation could be a large part of a composition.
In 1968 I ran into Steve Lacy on the street in Rome. I took out my pocket tape recorder and asked him to describe in fifteen seconds the difference between composition and improvisation. He answered: "In fifteen seconds the difference between composition and improvisation is that in composition you have all the time you want to decide what to say in fifteen seconds, while in improvisation you have fifteen seconds." His answer lasted exactly fifteen seconds.
Improvisation is an important part of bluegrass, and I would hasten to add that classical music wasn't always such an improvisational void. Back in the day, everyone's cadenzas were improvised, and improvisation was taught in conservatories.
I would make a huge distinction between theater improvisation and film improvisation.
To write a book about improvisation is partly a contradiction in terms. Improvisation is spontaneous. It's in the moment.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
A lot of improvisation ends up being about just thinking outside of the box in the scene. It's not improvisation as much as it is quickness or making it real.
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.
When I came to Chicago, I didn't even know what improvisation meant, as far as pertaining to comedy. I knew about Second City, but I didn't know what the word 'improvisation' meant.
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 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.
I'm very interested in the improvisation because one of the things I do is to help train scientists to communicate in a better way and more personal way when they're making a presentation, and I use improvisation to do that.
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.
Undeniably, the audience for improvisation, good or bad, active or passive, sympathetic or hostile, has a power that no other audience has. It can affect the creation of that which is being witnessed. And perhaps because of that possibility the audience for improvisation has a degree of intimacy with the music that is not achieved in any other situation.
Improvisation means coming to the situation without rigid expectations or preconceptions. The key to improvisation is motion — you keep going forward, fearful or not, living from moment to moment. That’s how life is.
I hated improvisation because in my early days as an actor, improvisation meant somebody had just come down from Oxford and they were doing a play above a pub in Kentish Town, and the biggest ego would win.
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