Sometimes I think it’s a known fact that we are not paid enough money because certain forces know that we’re gonna play this music whether we get money for it or not, you understand? And to some extent, we’re taken complete advantage of, you dig? And to another extent, it’s our gift to the world, so it don’t matter.
Tim Berne, “Terre Haute,” Sanctified Dreams, 1988.
Béla Tarr, Sátántangó, 1994.
Nicole Mitchell, Tomeka Reid, & Mike Reed, “Composition 23b,” Artifacts, 2015.
Abdul Wadud, “Happiness,” By Myself: Solo Cello, 1977.
“I hear the ‘Cello’ as being percussive, chordal, linear, in a group improvisation context, and capable of many effects. In short I hear it as an ‘instrument,’ and not as the ‘accustomed sweet sounding instrument’ which tends to stifle a whole new world of music.”