A Quote by Lynn Nottage
Before I start, I create a set list that I listen to while I'm writing. For 'Intimate Apparel,' I loaded Erik Satie, Scott Joplin, klezmer music, and the American jazz performer and composer Reginald Robinson.
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The clarinet is not so dominant in Israeli music as it is in klezmer. I heard klezmer when I was growing up, but for some reason I avoided it. I listened to Louis Armstrong instead. But the sense of melody is the connection between jazz and klezmer.
Jazz infers a style, but creative music has a wider field and wider specification about it. We know it from people like Scott Joplin and on through Bessie Smith.
Every composer's music reflects in its subject-matter and in its style the source of the money the composer is living on while writing the music.
I'm weird - I don't really listen to American music while I'm writing. I do occasionally get an anthem song, but generally speaking, when I write, I only listen to Japanese and Hawaiian music.
When I'm in writing mode I tend not to listen to music. I usually have a gestation period before I start writing. When I'm listening, it usually happens on the road. So, we'd been listening to a lot of music on tour the year before and all that stuff sank in.
Trombone virtuoso and innovative composer, Papo combines the best of jazz and Latin music to create a genre that is unique and wild. He's redefined Latin jazz!
When we look at the arts and letters in America, especially if we look at poetry, and poetry set to music, this dialogue, we have this very powerful beautiful, eclectic, diary, or narration of being in America, being American, participating in America, becoming more of America and also as an American, the American creative spirit, which is quite interesting. Our composers and poets have spent more time writing and thinking and speaking out of what it means to be a composer or poet as well as to be an American, or a composer or poet In America; both relationships.
There is a complexity and layering that goes on with this kind of thing, so the music is slightly repetitive and when I say repetitive it's in the same tradition as people like Steve Reich or Erik Satie or even WC.
I've been listening to quite a lot of classical music like Erik Satie, and quite a lot of blues.
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.
In India, I have been called a 'destroyer.' But that is only because they mixed my identity as a performer and as a composer. As a composer I have tried everything, even electronic music and avant-garde. But as a performer I am, believe me, getting more classical and more orthodox, jealously protecting the heritage that I have learned.
Sometimes when I'm writing I'll play Cole Porter, just because the rhythms and the lyrics are so perfect that it's like having a smart partner in the room. I have a huge collection of music that I listen to when I'm writing, and I also prepare a lot of music before I start directing. I put it all onto an iPod that I have with me on the set. It's helpful to the actors, because for an emotional scene, I'll play it and say, this is how it feels, to keep us in the zone.
Copland was one of the first American composers to forge a truly modern style of American classical music while also making use of American popular music - including jazz.
He's not a performer, he's not a composer, he's not even a musician, but Norman Granz is Mr. Jazz.
Erik Satie does not say the opposite of Debussy; he says the same thing only the other way round.
I wanted to be a composer for a while, and for a while, and maybe still, I found writing music much easier than writing poetry. So maybe my brain clings to it.
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