* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project
Playing Together: Four Levels of Improvisation and Two Axes of Appreciation 191 the band TUB was generally considered authentic, whereas other musicians who dabbled in pop and rock music in order to make money, or get famous, were often criticised for being âfakeâ.20 These concepts were not limited to Improvised Music, and Christian Lillinger described all âhonestâ music as âgoodâ music,21 Rudi Mahall asserted that the Beatles were just as honest as any good improviser,22 and Clayton Thomas drew comparisons between the âfundamentalâ sounds of John Coltrane and rapper Nas.23 Most musicians and listeners concurred that the trained listener could sense such honesty âimmediatelyâ, and, in such cases, as one listener put it: One note already says everything. And you can hear from the first note if itâs OK, or if itâs not. Thatâs all you need. The same listener continued, accepting the empirical difficulty of the concept: When it has a strong idea... behind it... then it exists, and itâs very potent. And it might happen that someone who has a very vast education in music... might produce that music that vanishes into thin air... and that is worth nothing in the end. If you might use that term âbeing worth something.â [...] [Itâs about] strength or connection to what is life, or honesty. [...] There are lots of nice words to describe a [character of moral integrity], and... you can apply them all, [but] in the end, itâs simply âIs it there or is it not there?â He compared this unquantifiable power to that of martial arts,24 and other musicians and listeners also made analogies to conversation, Matthias MuÌller describing âstrongâ musicians as those who made convincing, original and interesting âargumentsâ,25 and Klaus KuÌrvers elaborating that: As a musician you notice if somebodyâs really present with their whole being in their sound, just as you notice when you speak with somebody if what they say is what theyâre really thinking, or if theyâre thinking about 20 Christian Lillinger, for example, described musicians who he paraphrased, sarcastically, as saying, âI always wanted to play grooves, and then at some point Iâm 50 and in the art scene, [and] then Iâll make a groove recordâ. See footnote, p. 128, for more on TUB. 21 Describing two of his favourite musicians, he added, âThey have always stayed true. Totally. They make their music and they believe in it.â 22 For Mahall, the Beatles played with âall their heartâ, adding that âthatâs what original music is, when you give everything.â 23 Thomas described how, âI think in the end itâs just [that] you can tell that the person whoâs playing doesnât have an ulterior motives. [...] I donât want to hear someone play [like] someone else. I donât want to hear you play someone elseâs music. [...] I like it when I feel like Iâm hearing someone be themselves. And if thatâs like Nas, because Nas is a fucking great MC... itâs like âYeah!â. I donât want him to scat at me or fucking improvise some... abstraction, I want to hear him fucking rock.â 24 He described, âIn martial arts you call it âthe finger that points to the moon.â I had this teacher... and he said, âWell, the finger that points to the moon goes like thisâ. He held my arm, and he says âMove the arm.â [mimes the immovable arm]. And he said âYou cannot move it, right? Iâm too strong for you.â I said âYes.â He said âPoint to your noseâ - [whistles] and heâs [floored]! [...] Thatâs a phenomenon!â 25 See pp. 163, 187 and 197 for further analogies to conversation and theatre.