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Jazz Improvisation means that practice is not as straightforward as it would be when you simply have a score to play.
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.
Acting is really scary, but it's also challenging, fun, hard work. There's always an element of improvisation with every actor, even when something is really scripted.
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 used to think that running an organization was equivalent to conducting a symphony orchestra. But I don't think that's quite it; it's more like jazz. There is more improvisation.
Bob Dylan's one of the greatest blues singers of the western world; ancient art, on-the-spot improvisation, mind quickness, endless variation, classical formulae, prophetic vision, mighty wind-horse.
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.
Improvisation is about finding the best joke or the silliest way to get something across. Improvising conflict is always fun because you can just go for it.
I like to think that we've got a plan, so let's stick to it. That said, once we've stuck to it, we're allowed as much improvisation as anyone cares to indulge themselves in.
...a disgruntled reflection on my own life as a sort of desperate improvisation in which I was constantly trying to make something coherent from conflicting elements to fit rapidly changing settings.
Most of my favourite moments in film have been when I've had an opportunity to say something from scratch, something original, whether I jotted down a few lines or it came out in improvisation.
I've never been a big fan of improvisation, because I think you appreciate the process and the cleverness of it more than the actual comedy in most cases.
The problem with improvisation is, of course, that everyone just slips into their comfort zone and does sort of the easy thing to do, the most obvious thing to do with your instrument.
With Sleater-Kinney, we did a lot of improvisation in our live shows, and even our process of songwriting involved bringing in disparate parts and putting them together to form something cohesive.
I started improvisation at age nine, and I loved it so much I stuck with it. As a by-product, acting was just something I was lucky enough to fall into.
Louis Armstrong is the master of the jazz solo. He became the beacon, the light in the tower, that helped the rest of us navigate the tricky waters of jazz improvisation.
What an actor says is much, much less important than a life, so that's the great use for improvisation; you go, you find the life and then you add the words.