Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.
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 continued studying by myself in the field of jazz with my own technique of improvisation, walking bass lines, rhythms, all kinds of stuff, which I created for myself.
I honestly would tell anyone young to start looking at stories and learning story, because I think that’s the next step after people go, ‘OK, I’ve had enough of that improvisation, I’ve had enough of those short comedy bits. Tell me a story, tell me a more complex story, something that lasts and maybe has a little more meaning to it.’ Don’t ever look at what’s happening now; look at what’s coming next.
He found himself understanding the wearisomeness of this life,where every path was an improvisation and a considerable part of one's waking life was spent watching one's feet.
Everyone can act. Everyone can improvise. Anyone who wishes to can play in the theatre.
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.
Hendrix was back there with a few of the others who were like my training wheels ... hearing him as a teenager taught me to look at the guitar in a different way - and how to tap into that thing inside of me that was already leaning toward improvisation. You learn other players' licks at first; then you take off the training wheels and start using the licks as building blocks to make your own thing. That's how influences work. somewhere in whatever I do, there's a little bit of Hendrix - plus about a hundred others
Cynics who say power is all that counts in politics forget that power without ideas is just improvisation.
Certain kinds of speed, flow, intensity, density of attacks, density of interaction... Music that concentrates on those qualities is, I think, easier achieved by free improvisation between people sharing a common attitude, a common language.
Much of what happens in Love Always is really from overheard conversations in the Russian Tea Room. It's an improvisation of the way certain Hollywood agents think and talk to each other.
In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.
In a society like ours, politics is improvisation. To the artful dodger rather than the true believer goes the prize.
A strict form such as mine cannot be achieved through improvisation.
With Material for the Spine, I am interested in alloying a technical approach to the processes of improvisation. It is a system for exploring interior and exterior muscles of the back. It aims to bring consciousness to the dark side of the body, that is, the ‘other’ side, or the inside, those sides not much self-seen, and to submit sensations from them to the mind for consideration.
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.
The ballet of the good city sidewalk never repeats itself from place to place, and in any one place is always replete with new improvisations.
Peace demands more, not less, from a people. Peace lacks the clarity of purpose and the cadence of war. War is scripted: peace is improvisation.
I like the idea that within the structure of the song, some kind of built-in improvisation keeps them fragile and in their moment, so that I'm not projecting so much, so that my perception of the song doesn't interfere with what its real body is. Sometimes it's like telling a story that I heard in passing, and I don't want it to become completely mine.
I like films that are well-written and concise and with not a lot of room for improvisation.
Civilization has gotten further and further from the so-called 'natural' man, who uses all his faculties: perception, invention, improvisation.
You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.
I believe that improvisation is really just a directorial tool. It's a writing tool.
When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.
In a one-woman show, there must be compelling material that you adore. In both of these there are conversations with you and another character. My Second City (improvisation) background comes in very handy for accent and body posture.
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