Tal Wilkenfeld

Because at the edge of the cliff is all possibilities and unknown. You don't know what's coming. And I love being there in the unknown. Otherwise, it's just like, well, why are we doing this? Am I just like a clown on stage, like showing you my skills or what I've studied in my bedroom? It's like, no.

Because at the edge of the cliff is all possibilities and unknown. You don't know what's coming. And I love being there in the unknown. Otherwise, it's just like, well, why are we doing this? Am I just like a clown on stage, like showing you my skills or what I've studied in my bedroom? It's like, no.

I want to be like pure expression happening right now and responding in real time to everything that's happening. And anytime I'm not doing that, it's like it's a waste of everybody's time.

I want to be like pure expression happening right now and responding in real time to everything that's happening. And anytime I'm not doing that, it's like it's a waste of everybody's time.

I want to be like pure expression happening right now and responding in real time to everything that's happening. And anytime I'm not doing that, it's like it's a waste of everybody's time.

Mess what up?

Mess what up?

Mess what up?

Probably. I think it's all about recovery. And the more times that you fall off the cliff, the quicker you know how to recover and the varying ways that you can recover to the point in which it's concealed so much that maybe a listener might not even know that you're recovering.

Probably. I think it's all about recovery. And the more times that you fall off the cliff, the quicker you know how to recover and the varying ways that you can recover to the point in which it's concealed so much that maybe a listener might not even know that you're recovering.

Probably. I think it's all about recovery. And the more times that you fall off the cliff, the quicker you know how to recover and the varying ways that you can recover to the point in which it's concealed so much that maybe a listener might not even know that you're recovering.

I remember one time when I was really young. Well, not really young, but like when I was 21 or 22. Yeah, exactly. But when I was first playing with Jeff Beck. And we played at what I consider the best, the coolest jazz festival. It's Montreux Jazz. And Miles played there. Everyone played there. And they have the best speaker system ever. I was excited for months.

I remember one time when I was really young. Well, not really young, but like when I was 21 or 22. Yeah, exactly. But when I was first playing with Jeff Beck. And we played at what I consider the best, the coolest jazz festival. It's Montreux Jazz. And Miles played there. Everyone played there. And they have the best speaker system ever. I was excited for months.

I remember one time when I was really young. Well, not really young, but like when I was 21 or 22. Yeah, exactly. But when I was first playing with Jeff Beck. And we played at what I consider the best, the coolest jazz festival. It's Montreux Jazz. And Miles played there. Everyone played there. And they have the best speaker system ever. I was excited for months.

And the drummer, Vinny, was practicing for eight hours in the bus on the way there. And everyone was on fire on stage. And I remember playing a note, just one note. that I really didn't like. And I let it go in the moment on stage, but as soon as I got off stage, I was really sad. And so I sat on this road case. Everyone was out celebrating. I sat on this road case with a sad face.

And the drummer, Vinny, was practicing for eight hours in the bus on the way there. And everyone was on fire on stage. And I remember playing a note, just one note. that I really didn't like. And I let it go in the moment on stage, but as soon as I got off stage, I was really sad. And so I sat on this road case. Everyone was out celebrating. I sat on this road case with a sad face.

And the drummer, Vinny, was practicing for eight hours in the bus on the way there. And everyone was on fire on stage. And I remember playing a note, just one note. that I really didn't like. And I let it go in the moment on stage, but as soon as I got off stage, I was really sad. And so I sat on this road case. Everyone was out celebrating. I sat on this road case with a sad face.

And then Claude Knobs, the owner of the whole festival, came up to me. He's like, Dahl, what's wrong? And I'm like, I played a bad note. such a child and like he said all this wise stuff that you know miles davis is had imparted to him and like it fully cheered me up um he's like is there anything that would make you feel better and i was like caviar

And then Claude Knobs, the owner of the whole festival, came up to me. He's like, Dahl, what's wrong? And I'm like, I played a bad note. such a child and like he said all this wise stuff that you know miles davis is had imparted to him and like it fully cheered me up um he's like is there anything that would make you feel better and i was like caviar

And then Claude Knobs, the owner of the whole festival, came up to me. He's like, Dahl, what's wrong? And I'm like, I played a bad note. such a child and like he said all this wise stuff that you know miles davis is had imparted to him and like it fully cheered me up um he's like is there anything that would make you feel better and i was like caviar