One of the most obvious aspects of the music to people who know jazz is: How does it feel in the swing? These are things that are very subtle and that jazz musician appreciate in a particular way. I appreciate the way Tommy Flanagan swings, the way that Barry Harris swings, the great pulse that Hank Jones and Bill Evans have - end every one of them is different.

One of the most obvious aspects of the music to people who know jazz is: How does it feel in the swing? These are things that are very subtle and that jazz musician appreciate in a particular way. I appreciate the way Tommy Flanagan swings, the way that Barry Harris swings, the great pulse that Hank Jones and Bill Evans have - end every one of them is different.

Everything-everything-was communicated through the sound of the music. There were no other signals of any kind ever-no count-offs, head nods, spoken instructions...nothing.

Playing inside the changes means playing enough of the important notes of the chord progression at important times. A good solo might be very free, but every once in a while it loops or hooks into an essential note that describes the harmonic change.

Music needs the juxtaposition of opposites to achieve its drama, so harshness and dissonance are simply part of the material a musician can use to create a musical work. All one thing is a bore - all dissonance, or all fatuous consonance. George Winston and Guns and Roses are two sides of the same worthless coin in my esthetic world.