Derek Bailey Quotes (24 Quotes)


    Personally, I've found that the kind of thing that I like is going into somebody else's area and not playing their music but doing whatever I do in their area.


    I don't think it is any different from what it was, except that the method is now familiar so you can't set up some internal shock situation.

    Even if it is difficult playing with other people - sometimes it's great, sometimes it isn't, but that is kind of the point of it. It loses its point playing solo.

    But that methodology where players are pitted against other unfamiliar players has been so widely adapted now that anybody plays with everybody.


    The first Company concert was a single concert with a quartet who all knew each other, although they didn't play together regularly.

    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.

    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.

    I'm not much into current electronic stuff, what I think of as lounge electronics, mumbling electronics.

    Charlie Appleyard can be anybody but I've used him sometimes in chat pieces, and these are all chat pieces about the history of Charlie Appleyard.

    Younger players in this music often turn out to be middle aged; it is not a young music.

    Playing music is not really susceptible to theory much. Circumstances affect it so much.

    I think the blues is fine for blues players, but free blues has never made much sense to me.


    In the absence of that, I am happy to play solo, but I don't think there is any comparison.

    I have always been attracted to the cottage industry side of this business.

    Solo concerts are murder, I find; I don't like doing them.

    I found that you couldn't use the same people anyway there weren't that many people, so you'd be using the same ones over and over again.

    I've always liked the effect of having somebody in there who hadn't the faintest idea what was going on.

    For me, Company is still the best way for me to work.

    I like duos with percussionists. I like the songs that percussionists sing.

    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.

    Nowadays, I really like playing in studios.


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