I mean, I really, really love playing solo. Definitely, it's like a labor of love, it's not a huge career. It's not that successful, but it's something I love so much that I'll do it regardless.
I think the problem with a lot of the fusion music is that its extremely predictable, its a rock rhythm and the solos all play the same stuff and they play it over and over again and theres a certain musical virtuosity involved in it.
There's something about the rawness of the live thing, there's no rhythm guitars behind the solo, nothing other than what you hear the people playing at that moment. It's exciting, it's about the performance.
I can see forms and shapes in my mind when I solo, just as a painter can see forms and shapes when he starts painting. And I can see different colors.
I find that in California I can't find guys that have enough energy. They play a little bit and that's about it. They play less. If I start a tune and then the pianist has to solo, I am looking to everybody to get to a certain climate and then I come back in while the energy is up high. Somehow that doesn't happen.
Learn to play the piano, man, and then you can figure out crazy solos of your own.
I think playing solo is a second rate activity, really. For me, playing is about playing with other people.
I think the solo playing, the decision to start playing solo, came out of having discovered what lay behind the doors that that technique opened for me.
In a certain sense, aspects of my solo playing were developed in order to test the theory about how long particular elements could be, as parts of so-called free improvisations.
Adam Berenson knows how to compose, organize an ensemble, do musical research, play solo and trio piano, write for musical journals, and enlist others to his cause. A very fine musician.
The other saxophones, except as solo instruments, really don't have much point in the orchestra
Well, I suppose I could do a solo album, but my god, it would be terrible!
As a solo artist, I just felt cemented in front of the mike stand. There was very little time to play with the audience and be a band member
By the time I did that third solo album, I'd finally learned how to do it, but I'd also learned that I liked being in a band
Guitar solos bore the hell out of me. Only a few guitarists interest me, and it's not about the solos they play, it's about the grooves they create.
James Michael and I played everything on the album, then brought in the guys in my band to add their spirit to it with solos and specific parts.
When you have 13 horns, and one is soloing, you have 12 people to play the richest, fullest chord you could ever imagine behind that solo.
You are a dear soul who plays polo, and I am a poor Pole who plays solo.
There is no earthly reason why a solo string instrument or voice, having the possibility to play or sing pure intonation, should want, or try, to be tempered.
I'm taking one thing at a time. With the children and launching my solo career it would drive me to a nervous breakdown if I tried to organise a wedding on top of that.
In the absence of that, I am happy to play solo, but I don't think there is any comparison.
The composer Stravinsky had written a new piece with a difficult violin passage. After it had been in rehearsal for several weeks, the solo violinist came to Stravinsky and said he was sorry, he had tried his best, the passage was too difficult, no violinist could play it. Stravinsky said, 'I understand that. What I am after is the sound of someone trying to play it.'
I've never done a solo tour. I feel like getting out there and doing that.
It was never supposed to be a hit. It was supposed to be a Joe Morello drum solo.
My most favourite gigs that ever happened were solo, before The Monkees ever happened.
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