Quotes About Improvisation

The difference between noise and music is in what the musician does with the sounds.

If I play anything that sounds like a solo, it's gonna sound like a lyric.

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.

Choose recipes like a base recipe; make a big pot of soup and freeze it. From then on, you can take it in any direction. Another day put rice in it, or then put corn or sausages. From there, it's endless.

If you don't own traditional dumbbells, you can also use soup cans or bottles of water.

You can start from any source material, and you can approach it with a jazz ear, and then it will become a jazz moment.

It's been a fascinating thing because we didn't really know how to write when we started South Park at all. It's been like, we've just sort of grown up a bit and it's amazing to just see how, if you take Butters and Cartman and put them in any scene, it works.

Now, when I play soul piano, for instance, and I play a rendition of 'Spain,' I do it deconstructively. That's the most fun, but I can only do that when I'm on my own.

Bricolage is a form of trial and error close to tweaking, trying to make do with what you've got by recycling pieces that would be otherwise wasted.

we should first make things more robust to defects and forecast errors, or even exploit these errors, making lemonade out of the lemons.

Greyson Tolliver spent his days as His Sonority, the Toll, consoling desperate, starstruck people and passing along wise advice from the Thunderhead. Except, of course, when he made shit up.

Marvin bongo drums and a piano and some grass

visitors to Andean history note certain ways of doing things that recur in ways striking to the outsider, sometimes in one variant, sometimes in another, like the themes in a jazz improvisation.

Today's tangents will become tomorrow's arcs, and unforeseen connections will tie up your loose ends in a way that will make you want to slap your head and holler at your accidental brilliance.

When you screw up in the ring, it's so embarrassing. But the fans don't know you screwed up unless you act like you just made a mistake.

There are no mistakes, only happy accidents.

You can't just play a house set for four hours at the Sheraton. You have to be creative and throw in some jazz, some Latin music, and really mix it up.

Gromit was the name of a cat. When I started modeling the cat I just didn't feel it was quite right, so I made it into a dog because he could have a bigger nose and bigger, longer legs.

If I'm on my own, I'll speak to 'Monkey' to generate new stuff for the act. I mean, I don't do it for moral support, although I wouldn't say that's out of the question. In fact, I could do it, I might do it... yes, I think I should actually start doing it more.

First and foremost, at drama school it gets drilled into you that you say yes to anything. If they say, can you tap-dance with a monkey on your head in your audition, you say yes.

If I knew my schedule a month ahead, I'd be so bored.

I don't write with a scheme or a plan. I write word to word, so whatever that first sentence is, having said that, one more or less had to say what comes next and next and next. Guilty of no cogitation or forethought.

Working with Dominic Savage was an amazing experience. You don't have a full script to follow so you're more or less improvising and he tells you what he wants out of the scene.

I still like to play the blues more than anything else.