I want to thank you all for this beautiful comments' section: lot of amazing suggestions and shared experiences! If you are reading this in the future check all of the comments since they are so inspiring!
For me, it's the *complete* integration of the observer and the performer that I love about improvising. Genuinely listening and intuitively responding at the same time. There's an event horizon where you realize that everything you're doing is fitting nicely but you feel no conscious input into it. You're listening to yourself and hearing the decisions you already made. And when everyone in the group is doing that, there is music happening which everyone in the space is completely in tune with but nobody in the space is consciously certain of exactly how it's happening. The audience and performers are like a feedback loop and the performers were merely a ping to get the whole system resonating and cascading. once it's running, everyone is equally involved, no matter what they do. "No consumers or producers" is the most beautiful characterization of improvisation I've heard yet. I love that. I also love the observation that improvisation necessarily was the first thing that ever occurred. So as complex as it might seem on the outside, it's actually a return to more raw form of action. All the sounds babies make early in life is just free improvisation until they become more aware of idiomatic methods.
Oh yes, I really love that feeling too, it makes you feel in touch with yourself and with everyone's around you in a magical way! About the overlap between the musician and the listener there are for me two very interesting sides: the first one is the internal point of view of the musicians. An improvised concert requires to be both a listener and a musicmaker at the same time (I like the idea of the internal and external ear, that works together in the same moment when improvising). On the other side, I always loved the Christopher Small concept of "musicking": a music performance is not just the musicians act of producing sounds but it is a wider concept that includes the situation in which it is done and listened and the people involved in it with their behaviours and reactions to what happens (musicians, listeners, the audience that dance, the sound check guy, the venue people, etc). Every part of the situation is basically part of the "rite" of experiencing music directly. Both topics are super interesting and I'll talk more about them in the next videos for sure! Thank you for sharing your thoughts! I love this comment section, so rich and full of inspiration!
@@AndreijRublev I remember the Le Trou performance in the street where people were dancing (There's a clip of it in this video), where you can kind of see that feedback happening. The person is dancing to the sounds that the performer is making, and the performer sees the person dancing and feels it. So that influences the performer to keep supporting the person dancing. It affects the performers sound decisions. Then the dancing person senses the performer making adjustments for them, and it loops back. Love it.
I like where this is going. Would love to see you discuss more about how to improvise when you can't even precisely predict your own instrument, especially if you're jamming with someone who plays a more traditional instrument. Like it's one thing when you know "if I hit this string at this fret or press this key I'll get this note" and just have the basic vocabulary and ear training to work from there. I feel like it's another thing entirely when you're improvising with feedback or a no-input setup or some other chaotic thing like that. Maybe you can figure out a few parameters but it's hard to know exactly what actions will produce what sounds. How do you navigate that in your experience? Also would be cool if you could cover something about improvised live scoring if possible. My roommate and I are thinking about trying something like that (improvised/generative storytelling + improvised score) and it would be nice to get a few pointers from someone more experienced.
First of all thank you for your interesting questions! Yep, I will totally discuss the role and the choice of the instrument for an improviser and talk about my experience, how it is to improvise with no input mixers and why I choose them, together with some other musicians point of view that I interviewed on the "instrument" topic, in a dedicated video, since it is such an important thing for improvised music, especially in free improvisation. The live scoring/live soundtrack topic is super interesting and I'll cover that one too, probably breaking down the strategies that I use (narrative/mood modules and structures, etc). I haven't seen many people talking about this topic, so it is totally worth a few words.
Super interesting! Improvisation is my favorite thing to do with other musicians. I've explored amazing musical dialogues, soundscapes and vibes thru this. Can't wait for the following videos
I will definitely read this book of Derek Balley about improvisation. Again, thank you for sharing your knowledge! We need more of this! @@AndreijRublev
@@terryyaki7782 it is a great book, I hope you will love it! You know when you read a book and think: oh I've always known this thing but haven't put it down in words and now another person from another place talks exactly about that! While I was reading it 90% of the time that was my reaction ahahah.
My favorite thing to do with improvisation, is to change time signatures mid jam. I love doing things that causes the others to look at me with equal parts confusion and amusement.
This looks like it will be a great series Andreij. About 90% of what I do is improvised and it is the most effective way for me to work but it is generally drone type music. I did see a video that had classical musicians improvising and they had never done it before and they were freaking out about having to do it :)
This video resonated so much with my own experience, thanks so much for posting it! Discovering improvisation as a way to enjoy music and connect with other humans was liberating! I love the way you describe the absence of producers and consumers, in a nutshell, it’s blurring completely the lines between audiences, performers and composers, it’s bringing music back to its origins!
Great to have you back on my radar. I've only just recreared a studio space, for the first time in months. I simply started with a noisy power supply and a diy twin delay unit, riffing off the mains hum for an hour at a time. Most of my work is improv. Once Ive tested the gear chosen can work together and set up quickly, I don't rehearse. Pauline Oliveros talks of responding to a time and a place. Sometimes it fails, ie I no longer use radios live in venues, too much interference from PA lighting etc, thick walls. I choose atmospheric venues for most gigs. I also build 12v PA with 9v output, for pedals. During lockdown I would play on hill tops, moorland. Prior to lockdown a friend and myself performed to an audience in a cave. It all adds to the performance and the audience vibe which you point out interplays with the art form. Looking forward to your follow up on the topic. Your videos are always inspiring and the timing is great, as Im now able to reconnect with my work.
Pauline Oliveiros is one of my reference points! Totally in love with her concept of listening as a composition act. Such precious memories you shared! Thank you so much! I've never attended to a concert in a cave but it sounds amazing just imagining it. And I'm really happy you have a space again to make music and reconnect to your work!
This video is really great, and I can't wait to see the next chapters. One of my favorite definitions of improvisation is inspired by something the saxophonist Steve Lacy said, to wit: improvisation is music where the period of its composition coincides with the period of its performance.
Thank you Andrei for sharing your experience about improvisation. Even if in my case it is not 100% part of the performance (at the time of its capture), it is necessarily there at a time of the research, and knowing how to say the right words about it is always pleasant and enriching.
First off, a huge thank you for your insightful video! Your discussion has been an eye-opener for me, and your previous videos have greatly influenced my music-making approach this year. I’ve recently composed a 40-minute piece that draws inspiration from various styles, including progressive rock and the no-input technique (yes, inspired by your video!). This piece, while structured like a classical sonata with four movements/parts, is deeply rooted in a rule-based improvisation style. During recording, I focused on creating and executing phrases, all guided by specific scales, most of which are not conventionally used. This work intentionally crosses genre boundaries to serve as an antithesis to the trend I’ve observed on a Japanese platform where indie artists upload songs (predominantly ones using Vocaloid, or voice synthesizer software). On this platform, there’s a widely recognized shift towards a homogenized style: songs often feature similar chord progressions and tempos, and typically, they are concise, usually within 2-3 minutes. This trend towards uniformity, seemingly driven by a desire for popularity, has fostered an exclusive environment where diverse musical expressions, especially those deviating from mainstream trends, are not fully appreciated. This, I believe, contributes to an unhealthy state in our musical culture. Furthermore, on this platform, music is often judged based on the artist’s popularity (followers, views, commercial achievements, etc.), its alignment with commercial trends, or the song’s immediate comprehensibility. This dynamic poses challenges for creators, particularly those exploring unconventional paths. This has led me to seek out and contemplate necessities that transcend this intrigue for popularity. The improvisational creations and performances, even extending to conducting them live, where not only musicians/performers but also the audience actively contribute to the whole creative process, deeply intrigue me, in that it might help to deviate from arbitrary conditions where people might become too judgmental of the performers’ background and context, in an undesirable way. Your exploration of interactive music has been incredibly refreshing. It was encouraging to rediscover the approaches that allow breaking free from these restrictive “patterns for success” and reaching out to broader, more diverse musical representation and perception styles. The idea of improvisation discussed in the video opened up new possibilities for expanding musical languages and interplays, allowing people in the scene to go beyond conventional boundaries, and toward liberating the music, including mine, from the restrictive pursuit of popularity at the expense of musical potential and diversity.
First of all, thanks for your kind words! Super glad to hear that my work is a source of inspiration and that you were able to develop your music starting from some of the ideas that I shared! Also, very interesting insight on the topic of musicians and composers' motivation. There are a lot of motivations that push people to make music in my experience: popularity is for sure one of them but I don't think it stands the proof of time, it is not a good enough push to pursue music for a long time. If you feel the need to make music just for the sake of popularity I think you'll loose interest in it pretty fast, since it is such a difficult field, especially if you want to make a living out of it. It requires a lot of consistency and long terms efforts, a constant work on yourself, your processes, a lot of training (that never stops basically). But that's not the whole story: a huge task is also to put your music out there for someone to listen to. It's a lot of work to do on many fronts and I'm pretty sure the "popularity" motivation is not strong enough to bear all these efforts. Also, feel free to share your music! I'll be super happy to listen to it!
@@AndreijRublev Thank you for getting back to me, and I'm sorry for responding late. I completely agree that focusing solely on popularity in music can quickly become limiting and lose appeal. Indeed, commercial techniques have their place, but they represent a limited aspect of the broader musical landscape. I had been hesitant about sharing my song on UA-cam, mainly because it didn't perform as well as I had hoped on another platform where I initially uploaded it, and I got intimidated. However, after giving it some thought, I've realized that uploading the song on UA-cam could still be worthwhile, considering the positive aspects of sharing the concept and idea behind creating the song. Since English isn't my first language, it might take me some time to craft a description that does justice to the ideas in the song, but I would be delighted to share it with you once it's uploaded. I hope I'm not asking too much, but I'm really intrigued by your experiences with live performances. I'm particularly interested in how you connect with fellow musicians and find suitable venues for live performances, especially those receptive to improvisational and experimental styles. Thank you again for the inspiration, and I eagerly await your future performances and content, as well as your continued success and creativity.
Sharing your work is in my opinion always a valid option, regardless of the platform and the numbers. In my experience even a single person who listen carefully to what you do is more valuable than any number on a screen. For example this video has fewer views than the others, but the quality of the comments make me so happy because it's clear that who watched it took something good from it. I'm always of the idea that quality is way more important than quantity. Also, non native English speaker here too, so it is totally relatable. I started writing my videos now (to avoid mistakes that I make when I speak normally) and it takes a lot of time, but I think it is worth to effort to be more clear and communicate in a better way. Language barriers are a thing for sure, but we do our best. And bytheway your written english is super good! About live performances, I'll probably get into the topic in one of the next videos but for a quick answer here: connecting with musicians is usually pretty easy, you have at least one common topic and language eheheh. On the other hand, at least here in Italy where I live, the venues/places/situations where you can take improvised music are not that many. I try to play as much as I can live, but of course it is not an easy task and it requires a lot of patience and consistency. In the end, thank you so much for the nice words! I wish you all the best too!
Thank you Andreij for taking a moment and talking about what matters in life! :D I wish there would be a Non Idiomatic community or something, for all to gather. Since this kind of non mainstream activities are hard to find from the haysack of the noisy internet world, makes heart happy to see that actually there are others as well like that! I am very curious, going to listen the recordings you guys did. We put our recordings up as well last year, every sunday a piece, like a beacon to see if we find someone who is similar minded. Do you know if there are any free improvisation festivals, that would be radical experience :D
Thank you! Yeah, the internet is pretty cloudy and difficult to navigate nowadays. Hope you'll find something interesting in our releases. And feel free to share your work here of course! I'm always happy to listen to new music. About thr festivals: there are a few of them dedicated to improvisation here in my area (North-East of Italy) but they are pretty small in general (which is not a downside but it depends on the point of view). I don't know where you are from (I suppose Finland from your username), maybe there are a few also there ;)
Honest question that I hope you could shed light on. I hope this question isn't too silly or maive but; how do you find live improvisation events? Are they typically set up, advertised, and promoted like traditional concerts? Or are they more like workshops or classes? Where do these improvisations happen? Universities? Basements? Or Bars? I'd love to get involved with live music improvisation but don't know where to look. Any advice would help!
No question is silly, never! The answer on the other hand is not simple at all. Improvisation based concerts can have, as much as the variety of improvisation itself, many different type of situations where they sit, depending on your area and the people who have that approach to concerts. Here where I live (Italy) you can have workshops, grassroots concerts (in general noise or electronic ones, where impro is very present), contemporary jazz or academic concerts too. The variety is pretty wild both in regard of the context and the audience. A good suggestion, in general, is to follow online some musicians (or venues) from your area who practice improvisation in their music and play improvised concerts. Maybe they can introduce you to a series of events where you can discover other artists who works in that "scene" and discover more concerts/events/performances/et cetera. I hope this comes in handy. It is still a sort of niche thing, but there are many people out there who plays improvised music, it is just a little bit more tricky to find them because usually they don't have the resources for a huge promotion. It is not a very profitable market so it is more a matter of knowing people and creating connections between them (which is something I really like, not gonna lie, because it is has a completely different approach from other more profitable and consumeristic cultural productions)
For me it is really interesting how can you improvise with such an unpredictable instrument as no-input mixer. It would be great if you share some know-how's on topic!
I will dedicate a whole episode on the role of the instrument in improvisation and of course I will share my personal experience with no input mixers ;-). Thank you for your interest!
Improvising by the languages I know, has always been easy, improvising while expanding the languages is a little more challenging. But generally I would be like, "oh, I can just play anything? Okay." Rather than read a script.
Hi Andreij. Unless you were in a wine bar in Aldinga south of Adelaide last night, you have a doppelganger! I was playing there last night and saw 'you'. Even the beard was the same.
Went very well. I could swear this guy was your double. They say everyone has an exact double somewhere in the world. Yours is in South Australia. Anyway I love your jams.
I want to thank you all for this beautiful comments' section: lot of amazing suggestions and shared experiences! If you are reading this in the future check all of the comments since they are so inspiring!
For me, it's the *complete* integration of the observer and the performer that I love about improvising. Genuinely listening and intuitively responding at the same time. There's an event horizon where you realize that everything you're doing is fitting nicely but you feel no conscious input into it. You're listening to yourself and hearing the decisions you already made. And when everyone in the group is doing that, there is music happening which everyone in the space is completely in tune with but nobody in the space is consciously certain of exactly how it's happening. The audience and performers are like a feedback loop and the performers were merely a ping to get the whole system resonating and cascading. once it's running, everyone is equally involved, no matter what they do.
"No consumers or producers" is the most beautiful characterization of improvisation I've heard yet. I love that. I also love the observation that improvisation necessarily was the first thing that ever occurred. So as complex as it might seem on the outside, it's actually a return to more raw form of action. All the sounds babies make early in life is just free improvisation until they become more aware of idiomatic methods.
Oh yes, I really love that feeling too, it makes you feel in touch with yourself and with everyone's around you in a magical way!
About the overlap between the musician and the listener there are for me two very interesting sides: the first one is the internal point of view of the musicians. An improvised concert requires to be both a listener and a musicmaker at the same time (I like the idea of the internal and external ear, that works together in the same moment when improvising). On the other side, I always loved the Christopher Small concept of "musicking": a music performance is not just the musicians act of producing sounds but it is a wider concept that includes the situation in which it is done and listened and the people involved in it with their behaviours and reactions to what happens (musicians, listeners, the audience that dance, the sound check guy, the venue people, etc). Every part of the situation is basically part of the "rite" of experiencing music directly.
Both topics are super interesting and I'll talk more about them in the next videos for sure! Thank you for sharing your thoughts! I love this comment section, so rich and full of inspiration!
@@AndreijRublev I remember the Le Trou performance in the street where people were dancing (There's a clip of it in this video), where you can kind of see that feedback happening. The person is dancing to the sounds that the performer is making, and the performer sees the person dancing and feels it. So that influences the performer to keep supporting the person dancing. It affects the performers sound decisions. Then the dancing person senses the performer making adjustments for them, and it loops back. Love it.
Exactly that! I put that clip in the video because what is happening there is super recognizable and clear.
Good content, GREAT sweater
Thank you so much! Glad you like it!
I like where this is going. Would love to see you discuss more about how to improvise when you can't even precisely predict your own instrument, especially if you're jamming with someone who plays a more traditional instrument. Like it's one thing when you know "if I hit this string at this fret or press this key I'll get this note" and just have the basic vocabulary and ear training to work from there. I feel like it's another thing entirely when you're improvising with feedback or a no-input setup or some other chaotic thing like that. Maybe you can figure out a few parameters but it's hard to know exactly what actions will produce what sounds. How do you navigate that in your experience?
Also would be cool if you could cover something about improvised live scoring if possible. My roommate and I are thinking about trying something like that (improvised/generative storytelling + improvised score) and it would be nice to get a few pointers from someone more experienced.
First of all thank you for your interesting questions!
Yep, I will totally discuss the role and the choice of the instrument for an improviser and talk about my experience, how it is to improvise with no input mixers and why I choose them, together with some other musicians point of view that I interviewed on the "instrument" topic, in a dedicated video, since it is such an important thing for improvised music, especially in free improvisation.
The live scoring/live soundtrack topic is super interesting and I'll cover that one too, probably breaking down the strategies that I use (narrative/mood modules and structures, etc). I haven't seen many people talking about this topic, so it is totally worth a few words.
Super interesting! Improvisation is my favorite thing to do with other musicians. I've explored amazing musical dialogues, soundscapes and vibes thru this. Can't wait for the following videos
Thank you so much! It is such a fascinating world, I totally agree!
I will definitely read this book of Derek Balley about improvisation. Again, thank you for sharing your knowledge! We need more of this! @@AndreijRublev
@@terryyaki7782 it is a great book, I hope you will love it! You know when you read a book and think: oh I've always known this thing but haven't put it down in words and now another person from another place talks exactly about that! While I was reading it 90% of the time that was my reaction ahahah.
Super curious about this series, this introduction is pretty amazing and rich in ideas!
Thank you so much! I'll do my best, promised!
My favorite thing to do with improvisation, is to change time signatures mid jam. I love doing things that causes the others to look at me with equal parts confusion and amusement.
The surprise factor is absolutely part of the game ;)
This looks like it will be a great series Andreij. About 90% of what I do is improvised and it is the most effective way for me to work but it is generally drone type music. I did see a video that had classical musicians improvising and they had never done it before and they were freaking out about having to do it :)
Thank you! Love me some drone music ;-)
This video resonated so much with my own experience, thanks so much for posting it! Discovering improvisation as a way to enjoy music and connect with other humans was liberating! I love the way you describe the absence of producers and consumers, in a nutshell, it’s blurring completely the lines between audiences, performers and composers, it’s bringing music back to its origins!
Totally, I feel you! There is such a magic in those situations that is really difficult to describe but it is totally real when your are into them.
Great to have you back on my radar. I've only just recreared a studio space, for the first time in months. I simply started with a noisy power supply and a diy twin delay unit, riffing off the mains hum for an hour at a time.
Most of my work is improv.
Once Ive tested the gear chosen can work together and set up quickly, I don't rehearse.
Pauline Oliveros talks of responding to a time and a place.
Sometimes it fails, ie I no longer use radios live in venues, too much interference from PA lighting etc, thick walls.
I choose atmospheric venues for most gigs.
I also build 12v PA with 9v output, for pedals. During lockdown I would play on hill tops, moorland. Prior to lockdown a friend and myself performed to an audience in a cave. It all adds to the performance and the audience vibe which you point out interplays with the art form. Looking forward to your follow up on the topic. Your videos are always inspiring and the timing is great, as Im now able to reconnect with my work.
Pauline Oliveiros is one of my reference points! Totally in love with her concept of listening as a composition act. Such precious memories you shared! Thank you so much! I've never attended to a concert in a cave but it sounds amazing just imagining it. And I'm really happy you have a space again to make music and reconnect to your work!
This video is really great, and I can't wait to see the next chapters. One of my favorite definitions of improvisation is inspired by something the saxophonist Steve Lacy said, to wit: improvisation is music where the period of its composition coincides with the period of its performance.
Totally agree! And thank you for the kind words! Actually the second episode is going to be out tomorrow, not too much to wait for it!
Thank you Andrei for sharing your experience about improvisation. Even if in my case it is not 100% part of the performance (at the time of its capture), it is necessarily there at a time of the research, and knowing how to say the right words about it is always pleasant and enriching.
Totally true. When you try new stuff your are always improvising!
Peace Love Free Improv 🫀🫀🫀
Forever!
More music, more peace, no war! Let's build something together!
First off, a huge thank you for your insightful video! Your discussion has been an eye-opener for me, and your previous videos have greatly influenced my music-making approach this year.
I’ve recently composed a 40-minute piece that draws inspiration from various styles, including progressive rock and the no-input technique (yes, inspired by your video!). This piece, while structured like a classical sonata with four movements/parts, is deeply rooted in a rule-based improvisation style. During recording, I focused on creating and executing phrases, all guided by specific scales, most of which are not conventionally used.
This work intentionally crosses genre boundaries to serve as an antithesis to the trend I’ve observed on a Japanese platform where indie artists upload songs (predominantly ones using Vocaloid, or voice synthesizer software). On this platform, there’s a widely recognized shift towards a homogenized style: songs often feature similar chord progressions and tempos, and typically, they are concise, usually within 2-3 minutes. This trend towards uniformity, seemingly driven by a desire for popularity, has fostered an exclusive environment where diverse musical expressions, especially those deviating from mainstream trends, are not fully appreciated. This, I believe, contributes to an unhealthy state in our musical culture. Furthermore, on this platform, music is often judged based on the artist’s popularity (followers, views, commercial achievements, etc.), its alignment with commercial trends, or the song’s immediate comprehensibility. This dynamic poses challenges for creators, particularly those exploring unconventional paths. This has led me to seek out and contemplate necessities that transcend this intrigue for popularity.
The improvisational creations and performances, even extending to conducting them live, where not only musicians/performers but also the audience actively contribute to the whole creative process, deeply intrigue me, in that it might help to deviate from arbitrary conditions where people might become too judgmental of the performers’ background and context, in an undesirable way.
Your exploration of interactive music has been incredibly refreshing. It was encouraging to rediscover the approaches that allow breaking free from these restrictive “patterns for success” and reaching out to broader, more diverse musical representation and perception styles. The idea of improvisation discussed in the video opened up new possibilities for expanding musical languages and interplays, allowing people in the scene to go beyond conventional boundaries, and toward liberating the music, including mine, from the restrictive pursuit of popularity at the expense of musical potential and diversity.
First of all, thanks for your kind words! Super glad to hear that my work is a source of inspiration and that you were able to develop your music starting from some of the ideas that I shared!
Also, very interesting insight on the topic of musicians and composers' motivation. There are a lot of motivations that push people to make music in my experience: popularity is for sure one of them but I don't think it stands the proof of time, it is not a good enough push to pursue music for a long time. If you feel the need to make music just for the sake of popularity I think you'll loose interest in it pretty fast, since it is such a difficult field, especially if you want to make a living out of it. It requires a lot of consistency and long terms efforts, a constant work on yourself, your processes, a lot of training (that never stops basically). But that's not the whole story: a huge task is also to put your music out there for someone to listen to. It's a lot of work to do on many fronts and I'm pretty sure the "popularity" motivation is not strong enough to bear all these efforts.
Also, feel free to share your music! I'll be super happy to listen to it!
@@AndreijRublev
Thank you for getting back to me, and I'm sorry for responding late. I completely agree that focusing solely on popularity in music can quickly become limiting and lose appeal. Indeed, commercial techniques have their place, but they represent a limited aspect of the broader musical landscape.
I had been hesitant about sharing my song on UA-cam, mainly because it didn't perform as well as I had hoped on another platform where I initially uploaded it, and I got intimidated. However, after giving it some thought, I've realized that uploading the song on UA-cam could still be worthwhile, considering the positive aspects of sharing the concept and idea behind creating the song. Since English isn't my first language, it might take me some time to craft a description that does justice to the ideas in the song, but I would be delighted to share it with you once it's uploaded.
I hope I'm not asking too much, but I'm really intrigued by your experiences with live performances. I'm particularly interested in how you connect with fellow musicians and find suitable venues for live performances, especially those receptive to improvisational and experimental styles.
Thank you again for the inspiration, and I eagerly await your future performances and content, as well as your continued success and creativity.
Sharing your work is in my opinion always a valid option, regardless of the platform and the numbers. In my experience even a single person who listen carefully to what you do is more valuable than any number on a screen. For example this video has fewer views than the others, but the quality of the comments make me so happy because it's clear that who watched it took something good from it. I'm always of the idea that quality is way more important than quantity. Also, non native English speaker here too, so it is totally relatable. I started writing my videos now (to avoid mistakes that I make when I speak normally) and it takes a lot of time, but I think it is worth to effort to be more clear and communicate in a better way. Language barriers are a thing for sure, but we do our best. And bytheway your written english is super good!
About live performances, I'll probably get into the topic in one of the next videos but for a quick answer here: connecting with musicians is usually pretty easy, you have at least one common topic and language eheheh. On the other hand, at least here in Italy where I live, the venues/places/situations where you can take improvised music are not that many. I try to play as much as I can live, but of course it is not an easy task and it requires a lot of patience and consistency.
In the end, thank you so much for the nice words! I wish you all the best too!
Bravo ! Great video👏🏼👏🏼👏🏼.
I'm an improvisator too, you speak very well about improvisation, very interesting. Also I love your musical approach. 🔥
Thank you so much! Happy you liked it!
Thank you Andreij for taking a moment and talking about what matters in life! :D I wish there would be a Non Idiomatic community or something, for all to gather. Since this kind of non mainstream activities are hard to find from the haysack of the noisy internet world, makes heart happy to see that actually there are others as well like that! I am very curious, going to listen the recordings you guys did. We put our recordings up as well last year, every sunday a piece, like a beacon to see if we find someone who is similar minded. Do you know if there are any free improvisation festivals, that would be radical experience :D
Thank you! Yeah, the internet is pretty cloudy and difficult to navigate nowadays. Hope you'll find something interesting in our releases. And feel free to share your work here of course! I'm always happy to listen to new music. About thr festivals: there are a few of them dedicated to improvisation here in my area (North-East of Italy) but they are pretty small in general (which is not a downside but it depends on the point of view). I don't know where you are from (I suppose Finland from your username), maybe there are a few also there ;)
Honest question that I hope you could shed light on. I hope this question isn't too silly or maive but; how do you find live improvisation events? Are they typically set up, advertised, and promoted like traditional concerts? Or are they more like workshops or classes? Where do these improvisations happen? Universities? Basements? Or Bars?
I'd love to get involved with live music improvisation but don't know where to look. Any advice would help!
No question is silly, never! The answer on the other hand is not simple at all. Improvisation based concerts can have, as much as the variety of improvisation itself, many different type of situations where they sit, depending on your area and the people who have that approach to concerts. Here where I live (Italy) you can have workshops, grassroots concerts (in general noise or electronic ones, where impro is very present), contemporary jazz or academic concerts too. The variety is pretty wild both in regard of the context and the audience. A good suggestion, in general, is to follow online some musicians (or venues) from your area who practice improvisation in their music and play improvised concerts. Maybe they can introduce you to a series of events where you can discover other artists who works in that "scene" and discover more concerts/events/performances/et cetera. I hope this comes in handy. It is still a sort of niche thing, but there are many people out there who plays improvised music, it is just a little bit more tricky to find them because usually they don't have the resources for a huge promotion. It is not a very profitable market so it is more a matter of knowing people and creating connections between them (which is something I really like, not gonna lie, because it is has a completely different approach from other more profitable and consumeristic cultural productions)
For me it is really interesting how can you improvise with such an unpredictable instrument as no-input mixer. It would be great if you share some know-how's on topic!
I will dedicate a whole episode on the role of the instrument in improvisation and of course I will share my personal experience with no input mixers ;-).
Thank you for your interest!
Improvising by the languages I know, has always been easy, improvising while expanding the languages is a little more challenging.
But generally I would be like, "oh, I can just play anything? Okay." Rather than read a script.
Totally get that! The pleasure of playing music always overcomes the challenge for me too.
Hi Andreij. Unless you were in a wine bar in Aldinga south of Adelaide last night, you have a doppelganger!
I was playing there last night and saw 'you'. Even the beard was the same.
I can confirm I was not there, cause I was at work in Italy last night hahaha. Anyway, how was the concert? Hope it went well!
Went very well.
I could swear this guy was your double.
They say everyone has an exact double somewhere in the world. Yours is in South Australia.
Anyway I love your jams.
@@robguitarwizard Thank you so much!
Who is the band at 9:22?
It's Le Trou Electronique, my impro collective band. Just a clip from one of our last concerts.
Sax player has bigger hair! Great sounds!
@@BennSutcliffe Thank you!