Welcome to Music-Improv.com!
I want to welcome you to Music-Improv.com - dedicated to the creative art, science and metaphysics of musical improvisation.
Let's face it. In order to improvise well you need to operate on two different levels - one on the intellectual/physical plane, where we learn our technique and theory, practicing it so well that it becomes second nature; and on another level where we train ourselves to be comfortable in the silences, and receptive to ideas as they flow to us.
The Metaphysics of Improvisation
In learning to improvise, we work on both sides of this equation, until we reach a point where they can co-exist comfortably. Ideas flow in, and we can execute them. It feels natural, because it is natural. It is inherently non-efforting - since we don't need to force the issue. If we're strong enough, and aware enough, then the flowingness of it can come forth unobstructed.
This site is dedicated to examining how this happens, and how we can create "practices and paradigms" that result in us being better improvisers.
No matter what kind of music we play, I would suggest that we rely on an underlying technology that governs how creative ideas manifest in real time. So it's not just about creating music. For me, its implications are profound, because it speaks to where creativity springs from. |
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This article examines that genesis of the multimedia project, "The Path of Peace." The project utilizes the piano improvisations of Ben Dowling and the multi-layered, motive visual arts of painter, Mark Wagner. |
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I was remembering today, how saxophonist, Joe Henderson performed here in Los Angeles at Calalina's several years ago.
The club is designed where there is a kitchen behind the stage area, and pass-through doors on both sides that connect through the kitchen.
While this was the only time I ever saw him perform, I noticed that he didn't stop playing the whole time. He would simply walk off the stage at the end of his solo, and walk back to the kitchen so he couldn't interfere with the piano solo, then walk back out when it was time for his enterance again.
The whole night transpired like this, and I'm convinced that Joe never stopped playing the whole set.
What interests me about this is the fact that he remained "in flow" the entire time. Since he was continuing to "ride the wave" while he was not featured, meant he could be responsive to the solos the other musicians were playing - on a totally different, and more intimate, level. |
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