A Quote by Arthur Rubinstein
At every concert I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It's like making love. The act is always the same, but each time it's different.
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I want to expand jazz; I don't want to keep the audience limited. I want to reach people who have never come to a jazz concert before. One way to do that is by making records that have a lot of different kinds of music on them.
It's different now but I enjoy it more than I did then. I think I appreciate it more now and I love playing acoustically. This is the way I started. Herb and I met each other forty years ago when we were both eighteen years old, playing bluegrass, and that's what drew me into music, and I enjoyed every particular part of my career. But now I enjoy it because it's the twilight of my career, where I can play what I want and I can play when I want and where I want. And that's the greatest part it all. So it's sort of a right that I've earned. I can record records the way I want to.
We live in this society where you must constantly be reinventing yourself. The big question is what are you doing next. The only thing they want is composed of these three elements: They want you to do it the exact same way because they want more of it; but they want it to be totally different; and they want it to be better. That's all you have to do. You just have to do something that's exactly the same, totally different, and better.
I want to risk hitting my head on the ceiling of my talent. I want to really test it out and say: O.K., you're not that good. You just reached the level here. I don't ever want to fail, but I want to risk failure every time out of the gate.
I don't like to do things the same way every time. You always want to be evolving as a composer, and if your creative process is exactly the same each time, then how do you expect today's work to be any different from yesterday's?
I think the most important thing is that I'm making music that the people enjoy. So the fans, the people that are out there listening to music and consuming music, I want them to enjoy it and love it. And so that's more important to me than Grammys.
A lot of what I've had produced are plays, and I just don't want to do that. It's different than a movie, where you only have to act the scenes the one time, and you have other collaborators helping you make it better, so you don't feel as obsessed with your own mind. Plays you have to do every single night, and the thought of that is agony to me. There are days when you hate your own work, and you don't want to be confronted with that, have it coming out of your mouth or listening to somebody else say it to you. There are days you want to leave the theater and get a drink.
We are passionate about making it so that users enjoy the music that they want to enjoy but at the same time fairly compensates artists. That's not the same as saving the music industry.
I think we can learn a lot about a person in the very moment that language fails them. In the very moment they they have to be more creative than they would have imagined in order to communicate. It's the very moment that they have to dig deeper than the surface to find words, and at the same time, it's a moment when they want to communicate very badly. They're digging deep and projecting out at the same time.
You know, women are acting the way they want to act now. Years ago they would hide it in the way they dressed, the way they speak, even the way they act in bed. Today, they're doing the same thing, but they're dressing the way they want to be treated and, when you're with them, acting the way they want to act. And you know, honesty is the best policy. I love that.
I just want to keep making music, recording and trying different things. I don't want to do the same thing all the time.
If you do not want what I want, please try not to tell me that my want is wrong. Or if my beliefs are different from yours, at least pause before you set out to correct them. Or if my emotion seems less or more intense than yours, given the same circumstances, try not to ask me to feel other than I do. Or if I act, or fail to act, in the manner of your design for action, please let me be. I do not, for the moment at least, ask you to understand me. That will come only when you are willing to give up trying to change me into a copy of you.
As an architect, you have to provide a shelter to enjoy art. And you have to love art. It's like when you make a concert hall. You must love music. This is the reason why you make the space, to enjoy music - making a space for art is the same thing.
They're always surprised with what I want to do and don't want to do. I think they're surprised I don't want to do robo-tech. I don't know, it's like they want me to have a long career. And be prolific and make big movies.
I just want to finish what I'm doing and go home. I want to have a weekend. I want to have breakfast, a stack of pancakes. I don't want to not enjoy where I am at this very moment. So, every time I plan something the exact opposite happens.
Obviously I want my music on the radio and I want my record to do well, but I also have a totally different career, so a lot of people who are in music are just in music and can dedicate all their time to that and I can't do that, so I really want to have both things and I'm just trying to figure out how.
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