JAN GARBAREK

When we are on tour we also take chances.

Coltrane was moving out of jazz into something else. And certainly Miles Davis was doing the same thing.

Other times I say: I would very much like to try to do something with this music, but after playing for a few minutes, I have to break off.

Jazz, for me, is a closed circuit, like the term baroque in the world of classical music.

The only element of jazz that I keep is improvisation.

You have to react to what's around you in the moment, whatever the music is. Just think of it as some place you have to enter and you need to find the key.

There's a certain phraseology involved in jazz, and I've moved away from that.

If you feel you have the right key, you try to make some phrase or sound that will fit.

I feel very strongly when there's no chance for me to find a key to a piece.

Sometimes it works, sometimes it fails, but that's what we face when we're dealing with improvisation.

You have to react to what's around you in the moment, whatever the music is. Just think of it as some place you have to enter and you need to find the key.

When we are on tour we also take chances.

There's a certain phraseology involved in jazz, and I've moved away from that.

Sometimes it works, sometimes it fails, but that's what we face when we're dealing with improvisation.

If you feel you have the right key, you try to make some phrase or sound that will fit.

The only element of jazz that I keep is improvisation.

Coltrane was moving out of jazz into something else. And certainly Miles Davis was doing the same thing.

I feel very strongly when there's no chance for me to find a key to a piece.

Jazz, for me, is a closed circuit, like the term baroque in the world of classical music.

Other times I say: I would very much like to try to do something with this music, but after playing for a few minutes, I have to break off.