If we overload ourselves with exercises, our playing will sound like that, I don’t
want to practice things to have little bits and pieces to call on. I’ve studied theory and composition, so I’m aware of all the scales from India, Asia, Europe, Greece—whatever—but I’m not going to put these in my music just because they’re different. Rather than consciously impose scales on a progression, I just try to add something musical—a few notes, some nice sounds. It’s a combination of emotion and intellect, but emotion is the essence. If you don’t have that, you don’t have anything. The most important thing is to express your feeling—not what someone else is feeling. I try to be as free as possible and just let something happen. It will—if you let yourself relax. - Kenny Burrell
(Wonderful jam here contrast Banrey's bebop lines with Grant Green's hardbop soulful approach and Burrell's tasty bluesy sensibility. Really dig Grant Green's comping behind Kessel as well and Burrell's hip outside lines when they were trading 4 in the end. - Ed)
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