I'd been to Memphis before, but we stayed out of Memphis early on in the late 70s for obvious reasons. People were very sensitive about Elvis Presley, and my stage name obviously would be provocative to some people in that area at that time.
I know that when I make a record like The Delivery Man as a contrast to even Il Sogno, this is going to reach a wider audience, because it communicates in that very direct way.
I found with this record I had to really be strong-willed, because in the past I've tended to tinker and add a thing or take a thing away, and nearly always been wrong.
And obviously, when I started out, I had a little bit more curiosity than some, and went seeking out the original artists, or in some cases searching up country music.
Well, T Bone's had a remarkable career as a producer since the time that we first worked together. He was dividing his time between recording and producing when we first met, and touring. We toured together and we were great friends.
Mention Hubert Sumlin, as well, because Hubert's a great man, and again, you know, I don't play the guitar very good, but when I'm playing this kind of music, I always have him in my mind. I wish I could play like Hubert.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
