I was interviewed by Austin, Texas creative space CotFG as part of their new interview series.
“Experimental” might easily include someone like John Cage yet exclude someone like Charlie Parker or Ornette Coleman, include someone like Conlon Nancarrow yet exclude someone like Cecil Taylor, celebrate Philip Glass yet reduce to a footnote someone like Julius Eastman or Yoko Ono. In these ways, the genre categories don’t really help us be together and experience sound together—which isn’t surprising given the term used by institutions to describe all of this is “market segmentation.”
A more inclusive approach is to recognize that experimentation is a creative practice—we try things, we hear if they work (whatever “work” might mean in our specific contexts). We might focus our experimentation on different parameters of sound/performance/organization/production. Through experimental practices we can find new ways of solving problems together.