Bill Evans once implied a resemblance, to say the least, between a Japanese visual art technique in which the painter is forced to improvise upon a thin stretched parchment with a special brush and black water paint in such a way that any unnatural or interrupted stroke would destroy the line or break through the paper and improvisation in jazz. Both artists (and all), he argued, must practice a particular discipline; that of allowing the idea to express itself in communication with their hands in such a direct way that deliberation cannot interfere.

For this theory to be creatively applicable in a practical sense, one's means of communication would have to be either perfected or allowed, and in a very mindful way, to be restrained by means of character or comfort in the inability of conveying especially advanced techniques of expression.

This leaves us with two extremely severe and unique traits of thought:

1) That the distinction of what is mental and what is physical in processes of creation and that "true" art is no intellectual conception by definition.

2) That what hinders expression without the intervention of a concept of matter is awkwardness (this being especially true speaking of real time improvisation as in for example playing jazz piano), or the refusal for contentment through simplicity.

I love Bill. I need sleep.