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Musician Quotes

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Musician Quotes

“He [Benny Carter] is all that every jazz musician the world over wants to be. He's performed 20,000 nights. How many shoes have been shined? How much mascara put on? Rouge? How many of those impossible bowties have been tied? How many love songs have been sung? How many dances have been danced? How many have passed to the sound of his music? It's been said that a man should not be forced to live up to his art. Benny Carter is one of the rare instances when we wonder whether the great art that a man has created can live up to him.”

“That was an idea of the record company, and also that was my first album after MCA and we wanted to come back with a strong album that would be noticed. If we put the vocals by very talented people and very meaningful songs, then the vocals would be a platform so that I could be noticed again. All of the MCA albums were just loaded with problems -- you know, the right musicians, the engineers. The record company would say 'You have to make music for black radio, you can't do what you have been doing with The Crusaders.' Everybody was telling me that was over, finished, done.”

“It's was all the internet. I started writing songs in high school, right about the time of the onset of Napster. I went to college in Dallas, and when I'd get back from class I'd have fans emailing me from different areas of the country asking when the album was going to be out and when I was going on tour. It was crazy, because I didn't even consider myself a professional musician.”

“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.”

“Listening closely to songs these days, there's a lot of lazy songwriting where people get away with it. I don't want to be too critical about it. But I also feel like I wanted to say something a bit different from just being a musician and singing about yourself. Ultimately, that's not really interesting to me. Even when I was a kid, I was interested in observing people and maybe making my own stories. That kind of reflects in my music.”

“People always say that music is a universal language. It was very, very true. We could show up anywhere with any people speaking different languages and we could just be like, "You want to play that song? Yeah, okay." We would usually want to play Latin American songs, and they would usually want to play Santana or Jimi Hendrix and stuff like that. So we would trade off. So yeah, we were able to make a lot of friends that way and meet a lot of local musicians. It was a great experience.”

“I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.”

“I don't consider myself very principled. As a travelling musician, you have to adapt and adjust to different contexts every day. It is always difficult to connect preach and practice. For instance, I fly more in a year than I had hoped to do in my whole life. I eat what people serve me, not what I think is right. I tried writing songs that were principled, but always ended up contradicting myself when trying to convert the principles into practice. In fact, these days I try not to be too principled, but rather be pragmatic.”

“I would be happy if I could meet some musicians interested in different acoustics and traditional music. Maybe I will find some Native American or Latin tunes. Anything. Even maybe a great heavy metal guitar player or drummer, and we can do something wild together. My next step is making more music without formats or borders. Not just simple songs or doing covers, but music with more ideas. I think it will again be a synthesis with something else.”