Or, perhaps ‘he made up his fingers to never play one single note that lives in his mind.’
Blues sucks for folks with limited extrapolation skills, much like frames suck for landscape artists who lack a compositional eye and nets suck for tennis players who can’t control spin.
Question: if one is to completely avoid clichés, couldn’t one simply defeat the A440 tonal reference first, then the twelve tone scale secondly? That would leave only clichés in rhythm, perhaps the hardest to discard of all, yes? Even amputations probably wouldn’t solve this issue.
Still, clichés are like oft-repeated words that serve as landmarks in a conversation. One could simply launch a monolog composed of entirely original words and sounds. Any listeners might comment favorably on delivery, tone of voice and expression, but no one would have much sense of what was being said. John Coltrane was a master at taking a recognizable phrase, surrounding it with instantly composed motifs, which when combined with the cliché phrase granted infrastructure to the solo. Then he’d surround these little islands with sheets of open water, sounds that bore no relationship to the first two elements beyond geographical existence in the same solo. The result was a previously unmapped tour that took the listener from a familiar starting point on a journey across uncharted passages to ports of call that were not familiar, yet were still enticing of attention.
I guess I am pre-supposing that listeners are still important to those fleeing clichés…
This is somewhat akin to Trey Gunn intentionally tuning his Warr guitar in such a way as to never have 'reflexive' blues notes 'available' to his muscle memory, as he finds the patterns thereof too 'cliched'. (Mind you, I'm paraphrasing. I think he said that he thinks 'Blues sucks' or something like that.)