If anybody is a master at improvisation, it would be Ken Jeong. He is hilarious.
I always had a knack for improvisation. I can write down the notes I play, but never really had a proper academic musical background. I suppose I'm blessed and cursed by the fact I have that freedom.
Negro music and culture are intrinsically improvisational, existential. Nothing is sacred. After a decade, a musical idea, no matter how innovative, is threatened.
With Sleater-Kinney, we did a lot of improvisation in our live shows, and even our process of songwriting involved bringing in disparate parts and putting them together to form something cohesive.
There's nothing that makes you so aware of the improvisation of human existence as a song unfinished. Or an old address book.
I started improvisation at age nine, and I loved it so much I stuck with it. As a by-product, acting was just something I was lucky enough to fall into.
The emphasis in each piece is on building a whole, totally integrated structure. In doing this, we try to carry on - in ensemble as well as solo sections - the mood of a jazz soloist. I mean that principle of kinetic improvisation that keeps a jazz solo building.
I can put together a pretty decent meal from whatever happens to be in the refrigerator and the pantry. I like the challenge of this sort of improvisation, the rigor of limitation and sometimes having to take a risk.