"Sometimes it works, sometimes it fails, but that's what we face when we're dealing with improvisation"
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Garbarek’s line has the plainspoken shrug of a working musician who’s allergic to mythology. Improvisation is often sold as mystical: genius arriving in real time, an artist “channeling” something. He yanks it back to the floorboards. Sometimes it works, sometimes it fails. That’s not self-deprecation; it’s a statement of terms. If you want the electricity of the unplanned, you also accept the occasional short circuit.
The intent is pragmatic, almost ethical. By framing failure as part of the deal, Garbarek pushes against a culture that treats music as a product that should be perfectly consistent, perfectly repeatable. Improvisation isn’t a technique you add on top of mastery; it’s a wager made in public, with your reputation and your bandmates as collateral. The subtext is trust: trust in your training, in your listening, in the room, in the other players’ instincts. When it “fails,” it’s rarely random; it’s the visible edge of risk, where taste, timing, and communication didn’t quite lock.
Context matters here: Garbarek’s career sits at the intersection of Nordic jazz austerity and ECM’s famously pristine sound world, where space and tone are treated with near-religious seriousness. In that setting, improvisation isn’t a noisy free-for-all; it’s a tightrope walk over silence. His sentence is an argument for keeping that danger alive. Without the possibility of missing, there’s no real present tense - just rehearsal disguised as performance.
The intent is pragmatic, almost ethical. By framing failure as part of the deal, Garbarek pushes against a culture that treats music as a product that should be perfectly consistent, perfectly repeatable. Improvisation isn’t a technique you add on top of mastery; it’s a wager made in public, with your reputation and your bandmates as collateral. The subtext is trust: trust in your training, in your listening, in the room, in the other players’ instincts. When it “fails,” it’s rarely random; it’s the visible edge of risk, where taste, timing, and communication didn’t quite lock.
Context matters here: Garbarek’s career sits at the intersection of Nordic jazz austerity and ECM’s famously pristine sound world, where space and tone are treated with near-religious seriousness. In that setting, improvisation isn’t a noisy free-for-all; it’s a tightrope walk over silence. His sentence is an argument for keeping that danger alive. Without the possibility of missing, there’s no real present tense - just rehearsal disguised as performance.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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