Quotes About Fusion

I'm starting to play all the melodies with kind of keyboard sound but playing it from the bass guitar.

There are a few things that I will hopefully be credited for as a pioneer. One is my four-mallet playing. Another one is the starting what was first called jazz rock in 1967 when I started my first band, later became jazz fusion by the 1970s.

Food is never static; culture is never static.

So, you can set up an orchestra down this end of the railway station playing one particular area, and simultaneously at the other end something completely different going on. And in the middle they meet, or not, depending.

The problem we have is that, some people call it 'too rock' to play on a jazz station, and it's 'too jazz' to play on a rock station. So it's difficult. It's difficult to make it playing this kind of music.

In the 80s, I remember the radio stations would play everything from rock to rap.

In the late 20th century, it became possible to travel between cultures, between the old world and the new, with great ease. So when you go back, you take the changed person with you who, in turn, changes things that otherwise might have stayed the same.

I played with so many musicians and some of the musicians would have something I want. I steal a lot of them, and I mash it up, I mash it up into my chords.

In 'Krishna,' the movements mostly stem from traditional dances of diverse cultures but there is some use of multimedia that completes the production and nudges the audience into the right ethos.

fusing themselves into a single new genre about partying all night with gangsta bitches screwing cowboys to the nasty beat that leads to Jesus.

I'm not going to play funk licks on a jazz album. That makes no sense.

I really like incorporating noise music into pop.

I wanted to introduce a contemporary Asia to a North American audience.

I'm not interested in a rock/jazz fusion.

If you notice in my own films the blending of songs is distinct. They narrate stories and scenes.

A notion for a story is for me a confluence of real events, historical perhaps, or from my own memory to create an exciting fusion.

I always liked really heavy guitar music, but didn't like the long-winded songs that went with it. And I always liked pop songs, but was driven nuts because the guitars were so wimpy sounding. So I decided to put the two together. That's how the Muffs started.

To live is also to think, and sometimes to cross that border beyond which feeling and thinking become one: poetry. Meanwhile

So creating a religion of your own, some people call this a smorgasbord religion. Taking a little bit from this and a little bit from that.

In the realm of book arts, whenever a masterpiece is made, whenever a splendid picture makes my eyes water out of joy and causes a chill to run down my spine, I can be certain of the following: Two styles never brought together have come together to create something new and wondrous.

Take one idea that you've been struggling with, combine it with a completely unrelated idea that you've also been working on, and see what comes out of the effort to reconcile both ideas into one coherent story.

There is a fusion in the memory of events which is at loose ends where reality is concerned. You wake from a nightmare with a certain relief. But that doesn't erase itself. It's always there. Even after it's forgotten. The haunting sense that there is something you have not understood will remain long after.

In their recollections dreams and life acquire an oddly merging egality.

With the sentiment of the stars and moon such nights I get all the free margins and indefiniteness of music or poetry, fused in geometry's utmost exactness.