I wanted all my solos to be something you could sing along with
What I do on my solo stuff is just the most natural version of who I am, and I’m trying to represent the feelings that I’m feeling as purely as possible
A good solo is like a book. It will start out in a phrase, it will go on in paragraphs, and then it will have a great ending.
With Zeppelin, I tried to play something different every night in my solos. I'd play for 20 minutes but the longest ever was 30 minutes. It's a long time, but whenI was playing it seemed to fly by.
This solo piano exploration (Beyond The Sky) by Rob Schwimmer is full of passion and love...his execution and ideas flow with a beautiful sense of freedom that captures you from his first phrase to the last.
I’m always the same. Whether I’m solo or with Big Bang, the one thing I have to do is sing and dance. I started solo activities with the things I did well with Big Bang, and I’ll show the things I learned while doing solo through Big Bang. Wherever I go and whatever I do, I am Taeyang and Dong Young Bae.
The realization that The Art of Obscurity is my 25th solo album prompted me to do some deep thinking about where I am, where I’m going and what I still want to achieve from this life in music. In my heart I feel vital and passionate about the creative process and that my best work is the next one I finish. It doesn’t necessarily work out that clean, but for me, it can be the only touchstone.
Successful innovation is not a single breakthrough. It is not a sprint. It is not an event for the solo runner. Successful innovation is a team sport, it's a relay race.
Surrender. That's an interesting term. We tend to see all forms of surrender as negative--war, sports, highway on-ramps. You'd never hear us describing a relationship as a type of surrender. But maybe we should. Is it wrong to cede the solo to the duet. Surrender doesn't mean you lose, only that you no longer wish to fight.
I love festivals because they seem like more of an artsy, supportive attitude - which benefits a more theatrical performer sometimes with having theater and other non-club venues, as well as the audience being filled with other artists. It's nice to be with other comics, as usually at other road gigs, I'm solo for the most part.
Creative force, like a musical composer, goes on unweariedly repeating a simple air or theme, now high, now low, in solo, in chorus, ten thousand times reverberated, till it fills earth and heaven with the chant.
It was by listening to Goodman's band, that I began to notice the guitarist Charlie Christian, who was one of the first musicians to play solos in a big band set-up.
I do some solo, acoustic stuff, but I also like plugging in my electric guitar and playing loud with a band.
I enjoy my solo career because I get to play smaller places like clubs and theaters, and the interaction with the audience is much higher quality. It also sounds better than a baseball stadium. Everybody has a good seat, and I don't have to play a specific part like I do in the Eagles.
I could never be a professional comedian, 'cause you have to keep telling the same jokes. For me, they're like word solos.
There're lots of musicians in my family, too. My mother sings incredibly well. I've got to make a record with my mother's voice on it. She sings a lyric soprano. We do the opposite. I'm a baritone. She's a star singer in her church. She always does her solo.
I still play solo shows. And some of those shows are still some of the best, most gratifying shows.
I definitely have to give myself permission, like on "Master Swarm," to rip a lead on that. Just play a violin solo that's - it's a bit showoff-y, but it's fun, so who cares?
In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.
When I play a solo I'm just expressing that moment. It can go horribly wrong easily enough.
I hadn't been exposed to music except in church. They used to have me singing a solo when I was five years old.
I can't play long solos anymore without boring myself.
It's really a lot of fun to see that this music can actually survive, that it can be concert music. My solo shows are already going along that path. You have the freedom to basically push to party, or you can tell a story from nothing with soundscapes, moving images, to a real party mood. At some concerts, people get out of their seats and start dancing after a while.
Since I started making films, I've been a nut for dialogue. When I first saw Star Wars when I was 12 years old, I came home and recited all of the lines from it. Before I talked about Death Stars exploding and Tie Fighters I was talking about how funny Princess Leia was and how sarcastic Han Solo was. So to me that's always the most important thing, and I love hearing great actors say great lines.
Comedy is immediate. Comedy is a solo mission. You're all by yourself, up there. And when you're in a film, on a set, it's a collaborative effort. It's about me being a tool for somebody else to create a story and a character from nothing, from their imagination.
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