A Quote by Burton Cummings
I'm not Bill Evans. I'm not Keith Jarrett. I'm basically a singer who plays along with his voice.
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Most pianists listen to about four or five different piano players before they call it quits and say, 'Okay, I've got my thing together.' Herbie Hancock, McCoy Tyner, Bill Evans, Keith Jarrett and maybe Chick Corea. Or maybe before that, Oscar Peterson.
I was blessed to work with The Jazz Messengers when the two piano players were Keith Jarrett and Chick Corea.
Clare Fischer was a major influence on my harmonic concept. He and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it really came from. Almost all of the harmony that I play can be traced to one of those four people and whoever their influences were.
Keith Olbermann is trying to make a business out of destroying Bill O'Reilly. He's done certain things to Bill O'Reilly that I believe were way over the line. I think that's bad behavior. But it's okay for him to criticize Bill. And Bill shouldn't be so sensitive. He should ignore that.
I want that fight with Jarrett Hurd and I want to be the one that knocks Jarrett Hurd out and takes his belts.
I also became inspired by impressionist painters such as Renoir, and wanted to do the same sort of thing with music-portray whatever mood strikes me the way Keith Jarrett does on piano.
Bill Evans is a real serious jazz pianist who, in my book, crossed over boundaries in terms of color. He used the piano as his canvas.
Bob Erlendson, a local piano player, taught me chord structure and which scales go along with them. Later, I began listening to [pianists] Bill Evans and McCoy Tyner. Then I got interested in [saxophonist] John Coltrane.
They’re waiting for you. Go on in.” Adrian leaned close to Keith’s ear and spoke in an ominous voice. “If.You.Dare.” He poked Keith’s shoulder and gave a "Muhahaha” kind of monster laugh.
I don't need to hear Bill to go through a song. I need to hear Keith to go through a song. I know Bill will be playing what I'm playing anyway. I need to hear Keith because it's all there: the time, the chord changes, and all the licks you have to follow.
A friend of mine back in 1989 did an illegal rave in Vauxhall. He got Keith Haring to come along and tag the side of the wall. My friend cut it out of the wall and he kept it under his bed for 20 years. Then a few years ago he asks me if I want to buy it... so I spent £12,000 on a Keith Haring.
My musical influences are from the '50s: Bill Evans, Miles Davis and Ahmad Jamal.
By the time I was doing "Kill Bill," it was so much filled with prose that, you know, I start seeing why people write a screenplay and make it more like a blueprint, because basically I had written - in "Kill Bill," I had basically written a novel, and basically every day I was adapting my novel to the screen on the fly, you know, on my feet.
The character of Brent Spiner. We certainly collaborate on the concept of that, but he basically writes the script, then it's sort of a combination of his voice and my voice.
Jonny Evans plays sort of international football with Northern Ireland
Wile E. Coyote is a coyote with nothing but good intentions. But Road Runner comes along and is unattainable, he wants it and can't get it, and thus he becomes a villain that is impossible to be around. Bill O'Reilly is a villain that is so in love with himself and the sound of his voice that he's literally become the personification of evil.
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