I just listened to that 1963 trane interview, and you should probably retitle it the trane & dolphy interview. I had never really listened to Dolphy in conversation (at least without his horn in his mouth.) I had also listened to the Bird interview, and I have to say, that after listening to Dolphy speak, I really started to reflect on the relationship between conversational (verbal) phrasing, and musical phrasing. Dolphy, in particular, abruptly makes his points, almost shouting out some of the things that he wants to say. His uneven oral phrasing really brought to mind his musical phrasing on both alto and bass clarinet. This made me reflect on the way that Trane and Bird speak, and you might make a similar analogy.Trane has a solid core to what he says, with fairly long drawn out commentaries. His voice sounds calm but serious, much like his playing. In Bird, one hears consice, shorter phrases as he makes his points, with fairly emphatic diction. I'd only really thought about this once before. Gary Peacock, the bass player, had given a friend a fairly interesting excercise, to connect his verbal phrasing with his instrumental phrasing. It also has a polyrhythmic element. Make sure that you're not dressed too freakily, and don't walk around in too ritzy or swanky an area. Here in Portland, the cops really like to tase, tackle or shoot to death those who seem like they might be crazy.What you do, is you walk down the street in a rhythmic fashion, whilst snapping a counter-rhythm with your fingers. You talk phrases of nonsense over this, or just make up some whack sentences. At the very least, it's highly entertaining, but please take the precautions that I noted above.
DON'T TASE ME BRO!!!!!!!
Don't worry, David, it's not me I'm talking about, it's just the PO-lees!! Pu-leeze!
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