The commonest and cheapest sounds, as the barking of a dog, produce the same effect on fresh and healthy ears that the rarest music does. It depends on your appetite for sound. Just as a crust is sweeter to a healthy appetite than confectionery to a pampered or diseased one. It is better that these cheap sounds be music to us than that we have the rarest ears for music in any other sense. I have lain awake at night many a time to think of the barking of a dog which I had heard long before, bathing my being again in those waves of sound, as a frequenter of the opera might lie awake remembering the music he had heard.

Musicians do not have to be believed in. We do not have to be trusted. Our Music speaks for itself without the listener having to know anything about us. Music touches people's emotions in a way that nothing else can. When people find a musician they like, they are usually fans for Life. If they like the musician and his Music, they will open up their hearts to whatever that musician has to say. It matters not what country the musician or the fan comes from. Music is a language that all understand. It goes beyond and breaks down barriers. This makes the musician very powerful, and with power comes responsibility.

eality sucks, that's probably why we dream. Why our bodies need sleep. So we can escape. Escape this earth, at least just for a little while. Everynight, we get to go away. Sleep is the only time I feel safe. The only time I can leave this place. This reality that feels like needles sticking into my flesh. This hell that is so hot it makes my hair sweat. Makes mymind melt. In my sleep I hear music, I see faces, songs and smiles and dad hugging me tight. Never letting me go. Telling me to be strong. Telling me not to give up hope. Sometimes I wake up crying. Sometimes I wish I didn't wake up at all" - jamie adoff

Yet the laboriously sought musical epiphany rarely compares to the unsought, even unwanted tune whose ambush is violent and sudden: the song the cab driver was tuned to, the song rumbling from the speaker wedged against the fire-escape railing, the song tingling from the transistor on the beach blanket. To locate those songs again can become, with age, something like a religious quest, as suggested by the frequent use of the phrase "Holy Grail" to describe hard-to-find tracks. The collector is haunted by the knowledge that somewhere on the planet an intact chunk of his past still exists, uncorrupted by time or circumstance.

In so far as I listen with interest to a record, it’s usually to figure out how it was arrived at. The musical end product is where interest starts to flag. It’s a bit like jigsaw puzzles. Emptied out of the box, there’s a heap of pieces, all shapes, sizes and colours, in themselves attractive and could add up to anything--intriguing. Figuring out how to put them together can be interesting, but what you finish up with as often as not is a picture of unsurpassed banality. Music’s like that."From “Derek Bailey and the Story of Free Improvisation” by Ben Watson, Verso, London, 2004, p. 440.

Cops and Robbers in 1965 England was still a kind of Ealing comedy: crimes rarely involved firearms. The denizens of F-wing were losers in a game they had been playing against the cops. In queues for exercise, the constant questions were 'What you in for, mate?', followed by 'What you reckon you'll get?' When Freddie and I responded with 'Suspicion of drug possession' and 'We're innocent, we'll get off' they would burst into laughter, offering: 'Listen, mate, they wouldn't have you in here if they had any intention of letting you off. You're living in dreamland, you are.

Fame is not so impossible for people with charisma, passion and talent. Being famous just means you have fans, and even one or two is enough to make you someone special. Ask a music fan who the best guitarist of all time is, and while one group insists that it was Jimmi Hendrix, another group swears that it was Eddie Van Halen instead. There will never be a time when everyone on this planet agrees on something like that, but luckily that's not important. All that matters is that both sides remain loyal, which they will assuming you continue to be who you are and do your thing. This is all that you need to be immortalized.

I've always felt that the performance of a raag resembles a novel - or at least the kind of novel I'm attempting to write. You know,' he continued, extemporizing as he went along, 'first you take one note and explore it for a while, then another to discover its possibilities, then perhaps you get to the dominant, and pause for a bit, and it's only gradually that the phrases begin to form and the table joins in with the beat...and then the more brilliant improvisations and diversions begin, with the main theme returning from time to time, and finally it all speeds up, and the excitement increases to a climax.

Twoja niezwykła męska uroda zawsze działała na mnie w ten sam sposób. Był to rodzaj podziwu. Gdybym mogła, patrzyłabym na Ciebie, cały czas bym na Ciebie patrzyła. Oglądałabym Twoją twarz we fragmentach. Zachwyt nad Tobą był jednocześnie zachwytem nad moim uczuciem do Ciebie. Istniało dla mnie coś takiego jak fenomen życia, fenomen muzyki i fenomen miłości, a więc Ty też stawałeś się kimś wyjątkowym, zadziwiającym, bo przecież byłeś moją miłością...

There is a striking feature of the twentieth century… the musical creation of the 20th century is qualitatively different from the 18th century, in that it lacks that immediate access or short-term access that was true of the past… I have no doubt that if we took two children of today two groups and taught one of them Mozart Haydn & Beethoven and the other Schoenberg and post Schoenbergian music, that there would be very substantial difference in their capacity to comprehend and deal with it, and that may reflect, and in fact if that’s correct it would reflect, something about our innate musical capacities.

The connection being that in my head all language began in song and that the best stories inevitably reutrn to song, to a state of rapture. For years, I had assumed that throwing beautiful words at the page would make my prose feel true. But I had the process exactly backward. It was truth that lifted the language into beauty and toward song. It was a matter of doing what Joe Henry did, of pursuing characters into moments of emotional truth and slowing down. The result was a compression of sensual and psychological detail that released the rhythm and melody in language itself, what Longfellow called "the happy accidents of language.

Ruby said there were many songs that you could not say anybody in particular had made by himself. A song went around from fiddler to fiddler and each one added something and took something away so that in time the song became a different thing from what it had been, barely recognizable in either tune or lyric. But you could not say the song had been improved, for as was true of all human effort, there was never advancement. Everything added meant something lost, and about as often as not the thing lost was preferable to the thing gained, so that over time we'd be lucky if we just broke even. Any thought otherwise was empty pride.

That's what it is. That's what my morning was like: all these real physical heavy positive vibrations, the soul of this tape. The fuzzy groove. The meaning of it all, if it has one: All love, all the time. Peace and happiness in every day. Peace and happiness with cow blood dripping from your hands, bright blood staining your fingerprints because you didn't glove up since you don't normally do prep work. Peace and happiness when you're making a list of everything that's wrong with the world and squinting your eyes tight trying to imagine your way out of it. Peace, peace, peace, happiness, happiness, happiness.

We await their creative interpretations of works by others and we love how they freely adapt and alter the music we like and enjoy. The wonderful magical alchemy they co-create is enough to spur the imagination of the audience. There is no need for other instruments or vocals. The music alone suffices. Listening to them, we can close our eyes and be taken away to a faraway place, we can envision a story or embellish a memory. We can connect to spirit and source and what we connect to in our deepest being is akin to religious experience. They dedicate themselves to each performance fearlessly, courageously, passionately, and generously.

So when a man surrenders to the sound of music and lets its sweet, soft, mournful strains, which we have just described, be funnelled into his soul through his ears, and gives up all his time to the glamorous moanings of song, the effect at first on his energy and initiative of mind, if he has any, is to soften it as iron is softened in a furnace, and made workable instead of hard and unworkable: but if he persists and does not break the enchantment, the next stage is that it melts and runs, till the spirit has quite run out of him and his mental sinews (if I may so put it) are cut, and he has become what Homer calls "a feeble fighter".