ABSTRACT
Improvisation does not occur in a sonic, or for that matter, social vacuum. Its cries and calls, hoots and hollers, invocations and incantations address fellow musicians, audience members, and the protean self of the person making the sound. But improvisation also includes among its addressees, histories, memories, feelings, unspoken and unthought imaginaries barely hinted at, spectral – or that see the light of day only because a particular improvisation made it so, made it thinkable, feel-able, articulable as the sound of that precise moment of address.
