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Musician Quotes

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Musician Quotes

“I always wanted to be someone in the entertainment industry. In my eighth grade slideshow, when everyone was like "show us what you want to be," everyone [said] doctor, lawyer, [but] mine literally said rapper. I wanted to be a musician, I wanted to be a superstar, I wanted to be on stage, I wanted to perform, I wanted to be in movies. But as you grow up, those dreams kind of fade away.”

“I didn't want to be a sideman. My own style was coming out and I was into my own writing. I wrote a whole album, I arranged it all with pencil and paper. I did eventually do a lot of work with my father, but that was different. I was living at home; I wasn't a starving musician. I wasn't spoiled, but I wasn't going to have some producer come in and tell me what to play.”

“As a journalist, I never critiqued anyone. I never review books. I've never felt qualified as a musician to say whether someone is a good musician or a bad musician. What happens with Black writers and Black artists is that if you're critiqued, for example, by a Black historian who wants to get his name on the cover of "The New York Times," and he says something, like, wacky, well, he'll get his name on the cover of "The New York Times" and he might get tenure, and your career suffers.”

“I've had a very different career than a lot of other musicians. I went through the major labels. I was signed to two major labels and bands. I've toured with Aerosmith, and I've had records on the charts, songs in the movies. If you had checklist of things a person wants to accomplish in music...I've done a lot. And I don't mean that in an egotistical way; I never take it for granted. But you can't think outside the box unless you know what's in the box.”

“I didn't want my records to sound like anybody else, and when I've got my guys in the studio, I have a language with those guys because we work together every day. A lot of times, you bring in outside guys, studio players, whatever, and they're great musicians. It's just that they don't necessarily play the way I want it to be played.”

“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.”

“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.”

“She [Joni Mitchell] wanted to have that (jazz) element in her music. Of course, when she heard Jaco's [Jaco Pastorius'] music and met him, that floored her -- really grabbed her. She decided that Wayne Shorter was really conducive to her music. She would speak metaphorically about things. "I want this to sound like a taxicab driver, or a taxi in New York," or "I want this to sound like a telephone ringing." She would speak to musicians like that, and we really tuned into what she would want our music to be.”

“I don't really think of these as projects. I think of them as bands. I have tried to not just convene a group of musicians and make one record or make one gig and just drop it. Each of them develop over time. I have been really fortunate to keep a band like the Sextet together over three very different albums. Each time, the goal got more deep for me in terms of how I wanted to write for those people. So it is really about trying to develop ideas and trying to have a consistent focus on a way to come up with new ideas in music that I want to do.”

“It would be inadmissible if I would vent my opinion publicly. Not only could I harm the artist concerned seriously because people have so much respect for me and believe in me because of my musical accomplishments. And I could also antagonize people against me, because everyone has his own taste. We all make music, people can choose from that what they like. Every musician likes his own music the best, man. I don't want to attack that. I don't mind criticism, I can handle it, but most people can't".”

“You know I really don't like to think about the fact that I'm a girl in relation to the music industry. I was just a kid who wrote down thoughts to organize her brain and that turned into music, like any other writer or musician... so, I happen to be a girl. I don't consider that part of it really.. It may disappoint some feminists out there that I don't want to harp on women and men being equal.”

“The human genome will not help us to understand the spiritual side of humankind, or to know who God is or what love is. The well-heeled couple who decide they want to use genetics to have a child that is a gifted musician may end up with a sullen adolescent who smokes marijuana and doesn't talk to them.”

“If our hearts and minds are not properly transformed, we are like musicians playing untuned instruments, or engineers working with broken and ill-programmed computers. The attunement of the heart is essential to the outflow of grace...We must aim at building the structures of God's kingdom but recognized that we will only create these through the transformation of our experience. Concentration on reformation without revival leads to skins without wine; concentration on revival without reformation soon loses the wine for want of skins.”

“You can choose not to be a performing musician. You can choose to just be a recording artist. But then you run into the problem of trying to earn a living and balancing the time that you spend working on your creative efforts to just getting the bills paid. You can go off the grid and live in a cabin and make whatever art you want and also provide all the sustenance you need and not interact with anybody else.”

“I'd done all my research and seen that Booker and Gadson had worked with giant folks and little peanuts, too. That just showed me that they're musicians. They're not just interested in doing the big ones, they're interested in doing stuff that - pardon the expression - gives them a boner. I'm like that, too. I don't want to just do easy stuff. I want to keep myself freaked out all the time. Hence the title of the record, I Like To Keep Myself in Pain.”

“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.”