Derek Bailey Quotes.
I wouldn’t want to be ideological about it but I think of it as being the best way to approach this kind of playing. I don’t think it works in other music, other kinds of playing.
I think playing solo is a second rate activity, really. For me, playing is about playing with other people.
In the absence of that, I am happy to play solo, but I don’t think there is any comparison.
I’m not much into current electronic stuff, what I think of as lounge electronics, mumbling electronics.
I don’t research anything.
I have always been attracted to the cottage industry side of this business.
Nowadays, I really like playing in studios.
In fact it’s quite gratifying for me to see some of the people who really objected to this method of working now being quite so profligate in their use of it.
I think the blues is fine for blues players, but free blues has never made much sense to me.
Personally, I’ve found one of the more stimulating ways of playing in recent times has been to kind of move outside the free improvised area and work with people who are probably improvisers but they have a particular way of working.
Charlie Appleyard can be anybody; but Ive used him sometimes in chat pieces, and these are all chat pieces about the history of Charlie Appleyard.
I’ve always liked the effect of having somebody in there who hadn’t the faintest idea what was going on.
For me, playing is about playing with other people.
Free improvisation, in addition to being a highly skilled musical craft, is open to use by almost anyone – beginners, children, and non-musicians.
Playing music is not really susceptible to theory much. Circumstances affect it so much.
But that methodology where players are pitted against other unfamiliar players has been so widely adapted now that anybody plays with everybody.
Younger players in this music often turn out to be middle aged; it is not a young music.