My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.
For about seven years. I really like it there. There are a lot of great musicians. The scene is very open. A lot of stuff going on. People's ears are really open, they are not closed. A lot of scenes here, people just get tunnel vision and are into one thing.
It's a blast to watch. It's a lot more interesting live than it is on record. I mean, it really is a theatrical event. It's a sporting event! Cause you never know what's gonna happen.
I don't ascribe to the idea of the ivory tower composer who sits alone in a room composing his masterpieces and then comes down from Mount Sinai with the tablets. It doesn't work like that. The job of a composer is putting something down on a piece of paper that will inspire the person who's playing.
I started the label Tzadik to support an entire community of musicians, not just Jewish musicians. But the radical Jewish culture movement was begun in a lot of ways because I wanted to take the idea that Jewish music equals 'klezmer' and expand it to, 'Well, Jewish music could be a lot more than that.'
I'm getting ready to write a piece now, and it's been six months thinking about it, changing the instrumentation, changing the name, doing more reading.