A Quote by Aretha Franklin
I sing, and the musicians kind of fit things around me.
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I've always chosen all my own material; no one ever told me what to sing or how to sing it, but I've always been pressured intensely to use musicians outside of my band.
living life was like putting the beach into a jar. The point wasn’t to fit everything in; it was to attend to the most important things first—the big, beautiful rocks—the most valuable people and experiences—and fit the lesser things in around them. Otherwise, the best things might get left out
I had a lot of luck in meeting great musicians who were kind enough to show me things.
My approach is a bit unconventional because it kind of turns things around. I made a promise to myself at a very early stage that I wasn't going to try and force something into a specific shape. It's a process where I allow the songs to go where they want to go and it doesn't really fit into any kind of genre.
Session musicians kind of respected me because what I was talking about made sense. That all came from an education. Believe me, education does you more good. Maybe that's the reason I've been around so long.
The musicians recommend that I sing a sing the way it is written the first time and then start to look for other notes that aren't in the melody.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
I don't ever sing classically when I am singing a contemporary score - I kind of try to fit in whatever needs to happen.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
In those years, when I came to the States, people were always asking me why I didn't sing anymore. I'd tell them, 'I sing all around the world-Asia, Africa, Europe-but if you don't sing in the US, then you haven't really made it.' That's why I'll always be grateful to Paul Simon. He allowed me to bring my music back to my friends in this country.
I just really need to sing and sing and sing and not worry about writing. Just by singing for pleasure, your voice takes you to what it wants to sing. And that is how the best stuff kind of emerges.
I had this temp receptionist job in New York, and I kind of hated it, and in the morning I would come out of the subway and just walk along the New York streets with all these people around me and kind of sing to myself. Like, 'She's gonna make it!'
The availability of downloads is fantastic, but you don't know which musicians are playing on the songs anymore. It's kind of making musicians faceless, you don't get musical solos on records anymore. You know who the singer is but it's the poor old musicians who suffer.
I kind of realized I could sing, so I played around with that for a while. And that led me to acting in itself, which I came more passionate about by the age of 15.
I have to have a guitar sitting around. I sing in the shower. I sing around the house. The music comes secondary. The lyrics come first.
There were two things I discovered when I toured with Snoop. One was that the band was all jazz musicians. The second was to instil in me a respect for other styles of music. From then on, whenever I played a new kind of music, I came with the same kind of open mind. What are they trying to do? What are they hearing? How do they see music?
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