Very often, if I know the orchestra doesn't know a piece or it's a new piece, I have main ideas about it. But then we start to play and I never talk about places where they played so beautiful and so clear in the beginning that there is nothing to say.
If Bill jumps into something that relies on a lot of cymbals, I'll jump into something that relies on a lot of skin sounds; if he goes into metal tones, I'll go into wood, and so on. I basically play in his holes.
I love to play with Tony and Bill anytime, anywhere.
The complexity of the emotional life of the play is what you live to work on.
I can't wait to front my band with these new songs and play for fans, but I've decided to keep my day job too.
I didn't like the play, but then I saw it under adverse conditions - the curtain was up.
I just try to do what I have to do and let the people out there do what they have to do, which is have fun, scream, yell and jump around. I try to do what I have to do, which is play baseball, and I can only play in that piece of area there, so that's what I try to do.
You go to work, tape five shows in one day and then go home and play golf for the rest of the week and then start the week all over. I thought if something like that came along, I'd love to do that.
I used to play sports. Then I realized you can buy trophies. Now I am good at everything.
I really believed that if I could play that character, who is grounded in the earth and the history of the United States - not the kind of role I usually play - it would help me change the perception out there and my own perception of what I can accomplish as a performer.
When I edit, I'm not from the school of Hello, I'm a genius, so everybody shut up. I'm from the school of Let's play it once in front of an audience, and then I'll tell you where it is going.
Jazz is not the kind of music you are going to learn to play in three or four years or that you can just get because you have some talent for music.
When I first came to New York everybody on the scene would treat me like I could play, but I couldn't.
I believe in professionalism, but playing is not like a job. You have to be grateful to have the opportunity to play.
The whole point is, give me a break with the standards. You go to the average jazz label and suggest a record and they want to know which standards you're going to play. I'm saying let's break the formula.