A Quote by Andrew Bird
All the folks I play with come from jazz backgrounds or at least appreciate spontaneity within the parameters of a pop song.
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I have a passion for music, and I enjoy the process of expressing myself within the parameters of a pop song, and I don't do it to seek anybody's approval, necessarily. Obviously, you go on stage, and you enjoy it when people respond to a particular song, but the overall concept of playing music I do for myself.
I was lucky enough to grow up in an era when radio was less formatted. It was really special. You could hear a jazz song then a pop song then a show tune then some jazz. Basically, whatever the DJ felt like playing, he would play. He was educating you and exposing you to things you would never hear otherwise.
Yeah, it's more like playing what you think is appropriate for the moment. It's not about trying to force any particular style within the parameters - and the parameters we play in are pretty large!
When pop and rock were taking over from jazz, and Sinatra was covering a Beatles song, it was all very new. I get to come at it from a different direction.
With pop music, the format dictates the form to a big degree. Just think of the pop single. It has endured as a form even in the download age because bands conform to a strict format, and work, often very productively, within the parameters.
I'm not a jazz musician, because, I mean, firstly, I can't play anything. I'm not bad on the tamborine. I have a certain way with the triangle. But I'm not a jazz musician ... my band, they always joke, they always say that I'm a disposable, pop, jazz superstar.
My prayer is improvised - though like some standard jazz performance, the improv happens within pretty strict parameters - and asks for nothing.
A short story relies on those values that make poetry and jazz what they are: tension, rhythms, inner beat, into unforeseen within foreseen parameters
It's hard to really articulate what the parameters are that make one song parody-able and another song not, but if I can come up with a good enough idea for it, I go for it, and if not, then I have to move on.
I love pop music. It's not easy to write a good pop song. It may be easier to put out a fake jazz album, as Sting does from time to time.
If I knew what it was going to look like, I wouldnt be so excited to be a part of it. Jazz is a music of surprise; its a music of spontaneity. I think jazz musicians live--I know I do--for being surprised and not knowing whats going to come next.
Big Pop songs are born of inspiration and spontaneity. The question becomes how do you create spontaneity when you're going into the studio five days a week?
If you don't question you're stuck within a pre-existing parameters of knowledge. Questions are what take you outside of those parameters.
You have to learn how to act a pop song. You have to find the balance of the pop from the pop song and the lyrical significance of the scene you are in.
You kind of have to celebrate the moment that you get to create something that you love that falls into the parameters of a 3-minute-and-20-second song, to try to be creative inside of those parameters.
I prefer to feel uncomfortable by participating in projects were I am not the specialist. I am always the one who knows nothing. Playing with jazzmen and knowing nothing about jazz. Playing pop music and knowing nothing about how to structure a pop song. And the funny thing, which still surprises me, is that I continue to be invited to play by new people, from different areas, every day.
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