While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.
Well, in our business, it's a very tough profession.
Well, I worked with lots of different artists, of course.
We do a lot of light classical programming with that, too... obviously... a lot of Tchaikovsky music, Grieg, things like that which have become less classical with classical concerts.
That was probably the stamp that went into my mind, because I worked in television for many years, doing that kind of music, so that really was my strong forte.
Symphonic orchestras have almost become a glut in the market.
And then I went into television; and then television moved from the East Coast to Hollywood.
I had had a classical education prior to that.
We try to say it's creative and in a manner it is creative, but it is a business, because today, with the cost factor in crossing the boundaries that you do.
If you don't operate it as a business, you aren't going to be around very long.
But I listen to everything, I listen to all artists that come along.
Do, What you're going to do in longevity. Not just what happens tomorrow.
I grew up on film scores and scores from films.
I recorded with Sinatra, but the recording business is a very strange strata right now.
I started off as a studio pianist in Hollywood.