Musical Spontaneity Quotes

It's hard to beat the visceral high of playing live and creating something spontaneous.

I envy musicians their ability to live their art and share it with an audience, in the moment. From a filmmaker's standpoint, that's so rare and pure in a way that I'm sure is way more complicated than it appears.

The only band I was really over-into was Cream. And the only thing I really liked about them was their live stuff 'cause they played two verses, then go off and jam for 20 minutes, come back and do a chorus and end. And I love the live jam stuff, the improvisation.

I'd sing with Roberta Flack in a taxi if you called up and said she'd be in it.

Other than conversation, no other art form can give the satisfaction of spontaneous interaction like Jazz.

Hopefully I'm bringing to rock n' roll the kind of spontaneity that I love, and always believed rock and roll stands for.

At every concert I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It's like making love. The act is always the same, but each time it's different.

Sound-wise, I'm really limitless in the way I write songs. Whatever comes out, comes out. Every song is completely different.

Mozart didn't need a scheme for his music. He played and sang with the heavenly lightness of a child.

When I start playing I'm just a rollercoaster of sound. I don't know what's coming next, I never do, and I sit and sign and talk to the people afterwards.

'Enlightened Rogues' we made like the earlier ones: whatever tune came up, whatever direction it went in, that's the way it went. That's what we'll always do. I think if we ever stop doin' that, we ought to quit.

I just start playing music and eventually I sing something, a line of a verse or a B section or a line of a chorus, and the line that I end up singing is related to the music I'm playing, if that makes any sense. And I go from there.

Jazz is not a 'form' but a collection of tags and tricks.

Jazz is the music of the body.

There is no such thing as a wrong note.

All the folks I play with come from jazz backgrounds or at least appreciate spontaneity within the parameters of a pop song.

While creating Moon Shoes, I had no idea that I was doing it. The experience was extremely organic, considering that I was making music spontaneously and working alongside friends. I chose to title the project 'Moon Shoes' to give listeners a sense of unearthly freedom. I believe each song moves listeners closer to the moon and personal truth.

Being honest and spontaneous is important when making music. But I'm also really logical when I compose.

I don't really do scales... I mean, I play parts of them, but then I bail and start playing parts of other things. The term 'scale' feels very scripted to me because I'm an improv player.

It might be argued that genuine spontaneity is not really possible or desirable so long as printed scores of great works exist. All modern musicians are, for better or worse, prisoners of Gutenberg.

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.

When you start to kind of immerse yourself in that improvisation culture, you gotta be comfortable enough with your instrument to throw yourself into a really potentially dangerous situation.

My solos are more tastefully conceived now. But I still get going in places. It's just that I build up to it now. I don't race off on a solo. I take my time.

When we played with the Rollins Band, we'd keep songs going until we felt like ending it.