“Improvised music forces situations into play where musicians push each other into bringing different perspectives to their playing. Improvised music is not progressive in itself, but it invites constant experimentation. When players feel too secure about their approaches, the experimentation risks turning into Mannerism. What I would like to explore here are the moments in which players leave behind a safe zone and expose themselves in the face of the internalised structures of judgment that govern our appreciation of music. These I would call fragile moments.”

“While in improvisation there is a sense of craft within one's own instrument and in being able to interact with other musicians, in noise this disappears to the extent of anti-virtuosity becoming a virtue. A nihilist approach to improvisation in which the interaction is not based upon developing common denominators for some communication to happen among the players, but rather a matter of developing the freedom of individual expression.”

“Capitalism puts higher and higher demands on people to be able to improvise, to adapt to the constant changes of the market, to interact with each other and communicate in an effective way, to be ready at any time for the worse. There is a strong correlation between the importance of constant innovation in capitalism and in improvisation, and we cannot avoid that there is a strong relationship between the two. … The more open you are to experimentation, the more you would be likely to open up new avenues for capitalism to produce value.”

“Not only was I fiddling around at the keyboard but there were all these other children of all backgrounds wanting to play every sort of music bits of classical, jazz, pop, improvisation.”

“Music sounds different to the one who plays it. It is the musician's curse.”

“When does the improvisation begin? As we started to play or when we started talking about it?”

“In a lot of classical playing there isn't much expressiveness: I don't hear a voice in the playing. What I really admire about jazz musicians is that they develop a sound early on and it's unique to them. Classical players are screened from that by always playing other people's notes.”

“Cooking requires confident guesswork and improvisation-- experimentation and substitution, dealing with failure and uncertainty in a creative way”

“To be open, receptive and exposed to the dangers of making improvised music, means exposing yourself to unwanted situations that could break the foundations of your own security. … You must engage in questioning your security, see it as a constriction. You are aware and scared, as if you were in a dark corridor. Now you are starting to realise that what you thought of as walls existed only in your imagination.”

“First of all I choose a raga that gives me musical satisfaction. When I choose that raga then I welcome and invite the raga. To do that I have to meditate on the raga to understand its structure. When I get the structure then I can enjoy playing it. When I play a few beautiful notes, the spirit of the raga feels happy and comes and blesses me. Then the real music comes.”