Nothing is perfect...We're really more interested in what we're saying than how we're saying it.
The concept of clearing one's mind before performing a task so that it is consumed by nothing but that task, yet is open at the same time to anything that might happen - that concept can be applied to playing guitar, and it's enormously helpful for improvising.
Twitter was like a poem. It was rich, real and spontaneous. It really fit my style. In a year and a half, I tweeted 60,000 tweets, over 100,000 words. I spent a minimum eight hours a day on it, sometimes 24 hours.
I never consciously tried to conceive of what my sound should be.
To be wild is not to be crazy or psychotic. True wildness is a love of nature, a delight in silence, a voice free to say spontaneous things, and an exuberant curiosity in the face of the unknown.
I don't set out to write something. I more just write, and later on, I discover what it's about.
I feel like in every situation in life, I just always end up singing, like, anywhere.
On stage I try to be as spontaneous as possible, feeding off the energy of the audience. I just let myself be and have fun on stage.
I permit to speak at every hazard, Nature without check with original energy
Anywhere everywhere! Anything anyhow! just dance!
I think that's the core of black aesthetics: the ability to improvise. That is what has enabled our [black people's] survival.
I'm more of a writer than an actor, and I used to say that I'm mostly an improviser, though I haven't improvised in awhile.
I stopped being interested in improvisation, and I continue to not be that interested in it. Comedians can do it on a different level because they have a goal, but if you're improvising something that's dramatic, there's not that much to be good at.
An artist should let his style evolve naturally, spontaneously.
It’s like a language. You learn the alphabet, which are the scales. You learn sentences, which are the chords. And then you talk extemporaneously with the horn. It’s a wonderful thing to speak extemporaneously, which is something I’ve never gotten the hang of. But musically I love to talk just off the top of my head. And that’s what jazz music is all about.
When you have well thought out your subject, words will come spontaneously.
Mozart didn't need a scheme for his music. He played and sang with the heavenly lightness of a child.
The dripping... well, if it happens, it happens; it does not take anything from the work. The dripping just proves that you were not trying to control the work, but the work was developing by itself and if it drips, it's a natural part in the evolution of the work.
Little by little things began to assume a new aspect. The sense of insecurity vanished, words came of themselves, I was no longer so painfully conscious of everything I said. I drank on and felt the great soft wave approach and embrace me; the dark hour began to fill with pictures and stealthily the noiseless procession of dreams appeared again superimposed on the dreary, grey landscape of existence.
Everything that I write comes when it wants to, out of its own need and it dictates its form. I don't say, "I am going to write a novel."
When I wrote and got out of the way, writing did writing.” (p.90)
I used to do three or four songs a day, just write them - boom, boom, boom, and done - because of how spontaneous I was.
[I write] intuitively, reflexively, as if skiing down a steep mountain slope with no time to think.
The music, for me, doesn't come on a schedule. I don't know when it's going to come, and when it does, I want it out.
A child her wayward pencil drew On margins of her book; Garlands of flower, dancing elves, Bud, butterfly, and brook, Lessons undone, and plum forgot, Seeking with hand and heart The teacher whom she learned to love Before she knew t'was Art.
