A Quote by Z'EV
A lot of the people that I play with are electronic-based, so there isn't a direct physical analogue between what they're doing and the sound you're hearing.
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What I find the challenge is with working with, say, digital machines - performing electronic music - is that when we play instruments there's a physical act that results in a physical vibration. There's a mapping between our exertions and resultant vibrations, or resonance.
I can't say that electronic gear is restrictive. I think it is a challenge to play with electronic gear, and I regularly [perform] concerts with guys who are processing sound.
Obviously, culturally, England's style of play is a lot more direct and physical. In Spain, they're a lot more patient, and they have the ball a lot more.
With electronic music it's often a little more hidden - the relationship between gesture and sound - which makes it confounding for audiences. But the ingredients of electronic music are the same ingredients of nonelectronic music.
There's a lot of electronic surround-sound music, and I've done a lot of work where I write music for other people to move around a space.
What a lot of people don't understand is that the music that they're hearing is usually months, and in some cases, years old. So I'm a lot better than whatever material people have been hearing.
St. John of the Cross points out that the divine music can best be heard in solitude and silence. The sonorous music is not a physical sound that vibrates the eardrum but something transcending the senses. Physical solitude and silence remove the distracting noises that prevent us from hearing on deeper levels.
A lot of electronic-based musicians give very low-risk performances, and it's fun to hear your favorite band play live on a big speaker, but the live context is about the moment of risk and that moment of possible failure.
I used to play in rock bands. Then I went to the first school of electronic music in the world. It was in Paris headed by one of the most important people involved in electronic music.
I've noticed the sound of the golf ball being hit by the golf club is different, and much more realistic, with the hearing aids. The sound with the hearing aids makes sense, and better represents what I know is happening to the golf ball. So you could say that the hearing aids help give me confidence regarding my golf game.
There was a lot that was tricky about playing with [Thelonious Monk]. It's a musical language where there's really no lyrics. It's something you feel and you're hearing. It's like an ongoing conversation. You really had to listen to this guy. Cause he could play the strangest tempos, and they could be very in-between tempos on some of those compositions. You really had to listen to his arrangements and the way he would play them. On his solos, you'd really have to listen good in there. You'd have to concentrate on what you were doing as well.
I play with doing a forehead bun a lot, just a bantu knot right in front of the forehead and keep it in with a clip. And I like doing real pinup styles but based on my natural hair.
People's expectations of what I'm capable of doing are very low. People have been used to hearing little one-liners and me play around.
I love Sylvan Esso. I want to bring in more electronic elements, but also some analogue stuff. Stuff like '70s drum machines really fascinates me.
I want to coach because I love it. I don't want to sound hokey, but when you play for Frank McGuire, Dean Smith, and Pete Newell - they taught me a lot - I want to share what they taught me with a lot of people. I don't want to stop doing this.
I've never been one of those musicians to differentiate between acoustic and electronic sounds. I just see it all as sound sources to be used. This translates into my live shows as well.
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