We play melodic music, we play songs, we play all kinds of things and when you improvise you don't just shut out different languages, you use all the languages that you have.
I keep a guitar around while writing and will improvise music. I do this for several reasons, such as that it's fun, and sometimes it helps me with the meter.
I approach music and acting the same way, through spontaneous improvisation. I never really try to rehearse anything, do it over and over, except when we're inside a take.
I came into music because I thought the presentation of poetry wasn't vibrant enough. So I merged improvised poetry with basic rock chords.
In the olden days, I believe Mozart also improvised on piano, but somehow in the last 200 years, the whole training of Western classical music - they don't read between the lines, they just read the lines.
Through improvisation, jazz teaches you about yourself. And through swing, it teaches you that other people are individuals too. It teaches you how to coordinate with them.
But I also think that the more you reason collectively about what the project should be at the beginning of the process, the more you can improvise later.
Jazz vision is the fusion of music and art a real paradox of same-yet different. Here we play in exchanges, like the hardness of the key of c# major and from the softness of Db major - capturing, reflecting and improvising.
So, for instance, if you came to me, I'd ask, 'Do you want to write? Do you want to improvise? Why do you want to play this instrument? What do you want to do?'
There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.
Good improvisers seem telepathic; everything looks pre-arranged, This is because they accept all offers made—which is something no ‘normal’ person would do.
I always start with emotion. That's where I start all of my improvisations, on the piano. I always start with the mood or the feel of where I am in that moment.
If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.
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.
'Red Knot' is a film that I shot in Antarctica almost three years ago on a boat. It was a film that was improvised and it had very interesting circumstances while making the film, obviously. We were on a small boat bobbing around in Antarctica. It wa...
I always had a knack for improvisation. I can write down the notes I play, but never really had a proper academic musical background. I suppose I'm blessed and cursed by the fact I have that freedom.
Maybe a part of me recognized how right the improvising spirit of jazz is. Not the sounds, but the freedom to work with musicians who work that way. It felt very natural to me, but I think there's a way to do it without it being a jazz record.
When I do the roles, when I'm in the room and auditioning, I'll ask the director if they're cool with me adding stuff, or just improvising while we're doing it. And I would say, like, 90 percent of the time, they say, 'Absolutely.'
My father was king of the guidebooks and our holidays were always planned, taking us from a great gallery to an ace cafe to a beautiful view. And as an actor, I loathe improvisation because there's no structure and no one knows what's going on.
I left school and couldn't find acting work, so I started going to clubs where you could do stand-up. I've always improvised, and stand-up was this great release. All of a sudden, it was just me and the audience.
I just try to do as good job with the material as I can and play some jazz as well, some improvised music, and do that every night. Just see where it goes.
