David Grubbs Quotes
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As there are more online archives of improvised music, it becomes more like the daily practice of playing it. It lessens the idea of there being masterpieces of improvised music through benchmark recordings.
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I found myself thinking about the distance between the 60s and today through certain moments. Like the Henry Flynt interview with Ubuweb founder Kenny Goldsmith, where he talks about how he was scarred by how proud John Cage was to be ignorant of popular music. Goldsmith says, "Nobody thinks twice nowadays about listening to everything!" Something that had seemed so uniquely, radically syncretistic in Flynt's day seems much more commonplace now.
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The question of art songs always came up with Gastr del Sol. I think Jim O'Rourke had it right in being clear that there's a tradition of art song - Ives being the touchstone for the two of us - and what we do doesn't belong to it. It wasn't important to advance those kinds of distinctions, but clearly he thought it was fanciful for anyone to speak of what we were doing as being in that tradition.
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There's part of me that is a strict materialist.
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The word "archive" seems so reassuring, but I'm not sure about these things that are now being called archives. Is anything lost by the fact that the word has come to mean so many more things.
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I recall improvisational drummer and composer Michael Evans telling me a story of someone who had the opportunity to meet Cage and give him a record, and John Cage just smiled and said, "You know I have nothing to play this on?"
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Chance in music doesn't have to involve the I Ching or rolling dice or throwing yarrow stalks. It can involve an out-of-tune guitar, or other impossible-to-replicate moments of awkwardness - even more so than an awkward, out-of-tune live performance, because there's something incredible about the way that an out-of-tune guitar becomes part of the song on a record. I won't be precious and say it's part of the composition - that's nonsensica l - but chance occurrences are so crucial to what's distinctive. It's the fingerprints all over so many of these recordings.
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When I read John Cage's book Silence, I was growing up in Louisville, Kentucky. For me, records were a mode of time travel and geographic travel, interfacing with a much larger world. So it seemed antiquated and backwards that Cage would be so down on them.
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There's a book of interviews with John Cage by Joan Retallack called Musicage that was finished the summer that he died, in 1992. And in one of the last interviews, he was very excited to talk about nanotechnology. There's real technophilia from him, a kind of utopian embrace of the idea that nanotechnology will free people up to do what they really want to do.
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My experience that undergirds that observation comes from punk, where people might have scraped together the money to be in the studio for an afternoon to make a record. Punk isn't a music that you think of as chance-based, but exigency has a lot to do with it.