?In this sense, you could set aside an idea of Romanticism proper from everything else. It would be the initial, na?ve shock after the fracture, felt acutely for the first time. If “plurality” is the catchword of postmodernism,
mulberry bags, I’ve always found its Romantic predecessor more useful and honest: duality. You’ve got one thing, and one other thing, seemingly polarities, yet interacting, corresponding, riffing on each other—simple but effective. In this case it’s major and minor.
O) |P,? That duality is what I love about Brahms, so it might pop out in an improvisation or a composition of mine. One of the great aspects of jazz for me is the way you get influenced. First, you’re a fan. You get the goose bumps; you become bewitched by the music. If that process doesn’t take place, then whatever music—be it Brahms, Jelly Roll Morton or klezmer—won’t find its way into your vocabulary for very long,
mulberry, unless you’re on some weird mission to play music you don’t dig. Anything is fodder. With a kind of Pavlovian logic,
mulberry handbags, what comes out of your horn will be your own happy bastardization of what you love the most—whatever music seduced you initially. “Should I study classical music?” is the wrong question for an improviser. If you don’t dig it, it won’t do anything for you.
