Even though I have often recorded alone, I still feel the best music is made by musicians playing off each other.
But an innovation, to grow organically from within, has to be based on an intact tradition, so our idea is to bring together musicians who represent all these traditions, in workshops, festivals, and concerts, to see how we can connect with each other in music.
Yes, but the great thing about all the people - and I don't think there is any exception - who I've worked with is they've all been very, very talented musicians.
If we perform the romantic repertoire we need more musicians.
The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.
What people really should be able to be confident in is that the standards of music- making that classically trained musicians present is elite, it is the best and all of us as artists should be committed to that.
'Tis the common disease of all your musicians that they know no mean, to be entreated, either to begin or end.
When I listen to music, there's usually some aspect of that music that I like, and that's what I take and try to bring into my own music. Bringing in other musicians to collaborate with is a good way for me to test out new ways or make music that I might have not discovered on my own.
If you grow up playing in church, it removes a lot of the boundaries that other musicians might have, growing up with sheet music or whatever.
Because my musical training has been limited, I've never been restricted by what technical musicians might call a song.
My parents are both musicians and made sure we all played music. My brothers and sisters all play instruments, so we'll get together whenever we can and play. We play a lot of classical music - you know, the good stuff.
When you see the same familiar faces, it's nice when you get a chance to play with the same musicians. You start to develop this shorthand so everybody knows where you're at and where you're going, but then again, there are always surprises. But the more people are comfortable with the material, the more free you can be with the music.
Session musicians kind of respected me because what I was talking about made sense. That all came from an education. Believe me, education does you more good. Maybe that's the reason I've been around so long.
There's a bit of a new guard of contemporary classical musicians in New York, and we play a lot of different kinds of music together. We do pop studio sessions, and we'll also play John Cage and more avant-garde work. We're developing a language of music that comes with a lot of different styles, different kinds of work.
For about seven years. I really like it there. There are a lot of great musicians. The scene is very open. A lot of stuff going on. People's ears are really open, they are not closed. A lot of scenes here, people just get tunnel vision and are into one thing.
Performing live on stage is such a community, whether it's my musicians or a cast of a show that I'm in. And then when you're in the studio or on set, it's a much more solitary experience. Both can serve me at different times in my life. And when I go back and forth from one to the other, it helps me appreciate all of them much better.
I have seen great jazz musicians die obscure and drinking themselves to death and not really being able to get any work and working in small, funky jazz clubs.
In January of 1995, my family and I moved to Seattle. Pearl Jam did the first of their live radio broadcasts, Monkey Wrench Radio, along with many other Seattle musicians.
I think one of the reasons musicians keep doing what they do and writers keep doing what they do, is that we're totally unsuited for anything else. And I for one am much too lazy.
There is nothing is more musical than a sunset. He who feels what he sees will find no more beautiful example of development in all that book which, alas, musicians read but too little - the book of Nature.
I think my fans will follow me into our combined old age. Real musicians and real fans stay together for a long, long time.
What I look for in musicians is a sense of infinity.
I like to follow my favorite team and talk sports with my band or fans. You won't believe how many musicians are sports fans. We have so much time on tour that we need these outlets for relaxation.
I try not to become friends with musicians, but life happens and dinner happens and going out happens - it becomes interwoven in L.A.
The consistency - either the theme from record to record, or the band, the different musicians - it really varies. So if I get criticism, I don't worry about that, because I'm still being creative.
I basically taught myself how to sing and play by copying records, and that's just how it was for me. I know that's true for a lot of budding musicians out there - that's the thing that gets them inspired, is trying to learn their favorite songs. I think it's a great way to teach yourself.
Actors want to be musicians, and musicians want to be baseball players.
I feel really different from other musicians.
My training as an engineer has enabled me to design the stuff, but the reason I do it is not to make music but for the opportunity to work with musicians.
To not be modest about it, you'll find that with only a couple of exceptions, most of the musicians that I've worked with have done their best work by far with me.
Both of my parents were musicians.
Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.
I guess fortunate that I'm still around and I emphasize I guess because you never can tell what musicians would be playing had they been around as long as I have.
We're musicians. We make music for a living. It's that simple. Nothing else matters.
When we came into the studio I became more and more me, making the tracks and choosing the musicians, partly because a great deal of the time during Bridge, Artie wasn't there.
After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.
