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182
Chapter 8
And overall, controlled-discontrol, and the interplay of predictable and non-foreseeable
outcomes was something to be enjoyed and relished, Valerio Tricoli making the analogy
that:
For me it’s this feeling of feeling comfortable within something which is
beyond your control, but you don’t feel scared. It’s like to go back to the
labyrinth of Minos, kind of like “Let’s take a walk in this labyrinth, let’s be
lost, but don’t panic and let’s enjoy the experience.”
Burkhard Beins resigned himself to the fact that:
From my experience there will always be huge parts that are uncontrollable
anyway, so if I control just what I can control, it’s just a small part of
it. [...] Very often it makes it more interesting because then you have the
combination of controlled aspects, and random and uncontrolled aspects.
And Chris Heenan, concluding this chapter, looked towards one of his heroes, saxophonist
Evan Parker,54 describing how:
He’s a good example, where he clearly knows the world, but then he suddenly
hops out... but then he’s doing it on such a high level [that] it’s not a mistake,
it’s just like “Oh! A new room!”55
54
Heenan referred to Parker’s soprano saxophone improvisations and the recording Monoceros, in
particular.
55
See p. 227 for a more thorough discussion of what constitutes a ‘Mistake’ in Improvised Music.