In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.
John Abercrombie
When we improvise freely - that is, without a structure - it tends to sound more like 20th century classical music, more like a classical ensemble improvising, as opposed to a free-jazz group, where you're more used to hearing saxophones honking.
Classical musicians do this all the time. They want perfection. So they piece things together. Eight bars of this and six bars of that. Glenn Gould said that with a recording he wanted to make perfect versions of pieces.
I grew up listening to Barney Kessel and Wes Montgomery, Kenny Burrell, guys with blues backgrounds.
Take '39 Steps'. When I finished writing it, I counted the number of measures in the composition. I always do this because I am interested in the length of a song. So I counted this one a couple of times because 39 is an unusual number of measures for a song.
The music is fun. The big difference performing it live is that we might get a little more heated, not as subdued, we'll stretch things out more. It's how you stay fresh after such a long time in the business.
On record dates like that I never felt too nervous because everything was really overdubbed. When we did that album, we were in the studio for probably a week, so you had a lot of opportunity to fix things.
I started out trying to play more straight-ahead jazz. I went to Berklee in the early '60s when it was a brand new school, and so there was no fusion music. There wasn't a lot of mixing together of different kinds of music at that time, so jazz was kind of pure jazz.
Every time I listen back to solos of mine I'll hear something I like and then another phrase that I can't stand. You have to live with what you play. And the recording medium puts that on us. When I play live gigs I don't think so much like that.
If you listen to a lot of music, it gradually seeps into your consciousness or your unconsciousness and comes out in your music.
The way I evolved was playing straight-ahead jazz into playing more fusion-type stuff just because I was young enough to get into it. As I get older, I find myself coming back to where I kind of started.
You're just sort of searching for this 'thing' and sometimes you get it and sometimes you don't. All music is imperfect, but in jazz since you're improvising, at least the way I play, I'm trying to follow my train of thought in a solo.
I don't think anybody really super-consciously tries to develop a style to play.
I don't remember what was going through my mind, but what was going through my body was fear and terror. I had been on the road with Johnny and working gigs and playing a lot of the organ clubs.
I think once I started writing my own music and having my own bands, that's when I got more of a focus on what I wanted to do, personally.
