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Musician Quotes

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Musician Quotes

“The amazing thing about Sweets [Edison] was that he exactly spoke the way that he played! He was really unique, the one and only. He was one of the greatest Blues players that I ever heard and played with. Nobody can play like Sweets man, nobody! Most of us, musicians, frequently quote Sweets' phrases in our solos. Like Lester Young, Sweets had a big influence on us musicians, especially when we play some Blues.”

“I basically love classical music. I love a lot of musicians playing together and the whole culture of that whether it's Indian or it's Western. But in India, I think it's limited to filler music unfortunately. That's one thing I want to push in India where we have the infrastructure of an orchestra where you play Indian melodies with an orchestra and something different for a universal audience. It requires a lot of work from me.”

“As I was a kid, I had a bunch of musicians, they always told me that I should listen to all styles of music and try to play all styles and be authentic at it, if I can, because you never know who's gonna call you. This was coming from fellow horn players who would get the call to play with different types of people. Since I was a kid, that was just something I was always interested in.”

“Bourbon Street is like playing, a tourist, you know? It's just a tourist attraction ... those musicians on Bourbon Street, they play all day. They might start at 12 noon and end at 3 in the morning, like, it's like sets, like a job. You go play, take a break, play again, take a break, then later on that night, the club gets busier, then you play some more. There's pride. They're a group of great musicians- and they're holding it down.”

“Well, I've heard a lot of people, but I think I would say a Brazilian musician named Hermeto Pascoal was one of my biggest influences. Through the years he mastered the keyboards. He use to play the organ Hammond B3, flute, saxophone, percussion and guitar. He is one of the most complete musicians that I ever met. Not too long after we came to the United States, Airto Moreira introduced him to Miles Davis, who recorded three of Hermeto's compositions on his album "Live Evil.”

“I have a theory that musicians recognize each other and if they are destined to collaborate together they will. Mainly, they recognize each other according to the class they belong to. If they are punk-rocker kids from the neighborhood, they are going form a band. If they happen to be musicians that are going to play in pubs and restaurants, they are going to recognize each other, form a band and play together. If it's about musicians that are playing jazz and are going to jazz festivals, for e.g., then they are going to meet and work together.”

“Books are frozen voices, in the same way that musical scores are frozen music. The score is a way of transmitting the music to someone who can play it, releasing it into the air where it can once more be heard. And the black alphabet marks on the page represent words that were once spoken, if only in the writer's head. They lie there inert until a reader comes along and transforms the letters into living sounds. The reader is the musician of the book: each reader may read the same text, just as each violinist plays the same piece, but each interpretation is different.”

“We have to focus on his early work, and just one or two of his movies, and elements of his TV shows, to keep his memory pure. People now know that Elvis could play a mean rhythm guitar himself, and needed no other musicians to perform a great song. But Elvis was not just a rock star, he was an all-round entertainer.”

“Usually, I think it's best to play the song for them once and have them mix it up on the spot, because when the logical mind gets too involved, I think it kills a lot of magic. I just think the subconscious mind is so much smarter, and unfortunately, people do not trust their subconscious. A lot of people just don't access to all of that, the secret genius that's inside of them. And it's so much easier to get it out of a musician if you don't give them a chance to overthink.”

“So Nemerov showed us this picture, which is of Apollo flaying Marcius. You don't think of Apollo as being the sort of person who would skin someone alive. But the story behind it was that there was this guy who was a really great musician, and all the women loved him, and people started saying he was the best musician in the world, so Apollo got jealous and he challenged this guy to a musical dual. They would each play a song and the muses would judge who was the better musician.”

“It was more about getting together with other musicians and playing live. I needed to suss out a full set [for the Last Summer tour], and I didn't want to play Fiery Furnaces material. So half of our set was new songs that we ended up recording for this album. And that made such a huge difference - going into the studio after playing a song for two years, knowing it inside-out and having sung it millions of times, and then recording it is a totally satisfying experience. You're suddenly in this controlled environment and you can make it sound exactly as you've been imagining it.”

“I started thinking, my gosh, all this sophisticated software for measuring how Yo-Yo plays, and how he moves and this technique of the bow, I should be able to use similar techniques for measuring the way anybody moves, and so somebody who is not a professional or a trained musician, I should be able to make a musical environment for them.”

“I saw so many amazing musicians struggling to build something good. They would play and play... and play some more, but it seemed like there was something missing. I wanted to go someplace higher myself, and go there with the people who come to hear me play. So I began to envision events with their own gravity, that would pull a community of people together for a meaningful experience.”

“Music is a universal language insofar as you don't need to know anything else about a musician that you are playing with other than that they can play music. It doesn't matter what their music is, you can find something that you can play together, with what their culture is. The dialect part of it comes into play, but nothing like the differentiation that language sets up, for example.”