![]() ![]() Patron: "Sounds like she’s hitting a baby with a cat." And while I haven’t read Art of War in its entirety, I don’t think it has the Zen-like quality they’re linking it with above.Īnother favorite: Lisa attends a jazz violin performance: I guess the writers figured it was more important to name a book that would be widely recognized in the English-speaking world. Looking up the quote, I had forgotten that in the Karate class (Japanese) the teacher is referencing a Chinese book (Art of War). It will teach us our most important lesson: We learn karate so we need never use it."īart: “Excuse me sir… I already know how not to hit a guy. Instructor: "And this is our map, The Art of War by Sun-Tzu. I agree with the observation that suprisingly ingenius ideas can arise from limitations, but The Simpsons have used similar concepts as fodder for some interesting humor over the years: Many of us have heard the story that the Marshall JTM45 got its sound because Jim Marshall was trying to clone the electronics of the Fender Bassman, but had to use different vacuum tubes because of what parts were cheaply available to him in England at the time.Īnd back to CTC material, I don’t remember the specific chapter, but I think this theme comes up in discussion of Django in the Siv Lie interview:Īnd of course, the same concept is expressed glibly by the old adage: “Necessity is the mother of invention.” History is full of examples where progress emerges from compromise. The Mike Stern interview is coming to Masters in Mechanics later this week! In the mean time, we may post a few cool excerpts as we see them while we’re editing. ![]() If our limitations can be a catalyst for that narrowing down, as we search for Mike’s “other stuff”, we at Cracking the Code embrace that. “And some people don’t have such great technique, so they find some other stuff.” It’s also about whittling down the vast universe of everything to some manageable set of elements you can manipulate: “Some people have great technique so they sound more technical,” Mike explains. The truth is, musical expression isn’t just about attaining all-powerful skills and limitless vocabulary. ![]() But when I talk extemporaneously, particularly when the cameras are rolling, there is this illusion that I experience, where I feel that I am free in my ability to communicate. Well, I don’t know every word in the English language, even though you wouldn’t know it by the length of some of our lessons and blog posts. After all, Eric Johnson is a rare talent who can play anything right? And related to this is another question we get all the time: How can you really improvise if you have to work out all your lines ahead of time to fit some formula of lines you can play versus ones you can’t? In other words, if you have limitations, how you can be truly free to improvise? ![]() And it relates to challenges we think about all the time here at Cracking the Code.Ī lot of players who come to Cracking the Code may initially have a hard time with the idea that the “sound” of great players is often the result of avoiding phrases that don’t fit their technique. “Sometimes people’s styles and their voice is defined in as much by what you can’t do as what you can do.” As he does so many times in our interview, Mike really hits the nail on the head with this pithy encapsulation of musical personality. ![]()
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