A Quote by Otis Rush
I picked all the tunes before I went to Memphis, and the band was all set. Willie Mitchell is an arranger like I am, and he let me do what I had to do.
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Originally, we had a band known as Steely Dan. As we moved away from the band, we got whoever was appropriate for specific tunes. In a lot of cases, we gravitated toward jazz players who had more sophisticated harmonic concepts.
I was asked to be in Elton John's band, Joni Mitchell's band, and Miles Davis' band. I couldn't do it.
In order for me to get right, I had to go back to Memphis, I had to close myself in, get in the studio, lock in, and just think about everything before all the ice, before the money, before everything, and just vent.
My first job was in a Bohemian polka band, the Rejcek family polka band in Abbott. The old man in the band had another blacksmith shop in Abbott, but he liked me. All he had was horns and drums, and I was set up over there with my little guitar with no amps or nothing. I would play as loud as I wanted to, and nobody could hear me.
I had it together on Sunday. By Monday at noon it had cracked. On Tuesday debris Was descending on me. And by Wednesday no part was intact. On Thursday I picked up some pieces. On Friday I picked up the rest. By Saturday, late, It was almost set straight. And on Sunday the world was impressed With how well I had got it together.
I had a ten-piece band when I was 21 years old, the Bruce Springsteen Band. This is just a slightly expanded version of a band I had before I ever signed a record contract. We had singers and horns.
My dad was all about music. He was a musician, leading a band when I was born. His band was active all through the 40s. He'd started it in the late 20s and 30s. According to the scrapbook, his band was doing quite well around the Boston area. During the Depression they were on radio. It was a jazz-oriented band. He was a trumpet player, and he wrote and arranged for the band. He taught me how to play the piano and read music, and taught me what he knew of standard tunes and so forth. It was a fantastic way to come up in music.
I am who I am, and I think that's why I'm very grateful to be an Arizona Cardinal: because the team that picked me, they picked me.
When I joined the band I didn't know any of the tunes, and when I left the band I didn't know any of the tunes!
When I came out of the military, I had a club in Memphis and I started using the The Bar Kays as my club band. They were still only in the middle school - but I'd take them on the road with me on the weekends, sometimes.
I got my first set of drums when I was around 3. I went from band to marching band to Latin jazz band - it's like riding a bike.
Before 'Memphis,' I had never considered working on a musical. But when Joe DiPietro sent me the script, I heard the entire score in my head.
The support this city and our fans have shown the Grizzlies made my decision to stay in Memphis an easy one. Memphis deserves a championship team, and I am committed to that.
Mike [Mitchell] brought me on as co-director, and eventually we ended up sharing a brain. It was overwhelming initially when I was working with departments I hadn't had contact with before.
I love Memphis, I guess you could say, in the way that you love a brother even if he does sometimes puzzle and sadden and frustrate you. Say what you want about it, it's an authentic place. I was born and raised in Memphis, and no matter where I go, Memphis belongs to me, and I to it.
Planned Parenthood gave me an award for the Willie Parker story that I was deeply honored by. I didn't get any negative comments. I think the Willie Parker piece had more of an impact on people in that sense because it went deeper into the clinic itself.
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