A Quote by Charlotte Caffey

To all musicians - forget gender - to all musicians, it's about - do what makes you happy. Just go for it, you know? — © Charlotte Caffey
To all musicians - forget gender - to all musicians, it's about - do what makes you happy. Just go for it, you know?
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
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.
Musicians are affected by the audience just as much as audiences are affected by the musicians. The only problem is that often times musicians won't allow themselves to admit to that fact.
Musicians know all about unemployment. You're unemployed a lot, and I think there's a great deal of empathy between musicians and people who are out of work.
I always tell people that, just to be a bad jazz musician, you have to be better than most musicians. The worst jazz musicians are normally better than most musicians, because you have to know so much.
The musicians that didn't know music could play the best blues. I know that I don't want no musicians who know all about music playin' for me.
It was about finding creative, original musicians. Musicians who are strong composers. Flexible, empathetic musicians, who are great individually but who also have a great sense for cooperation and collaboration, great listeners as well as great players.
Grammy nominations are certainly pleasant, but you can forget about them and lead a perfectly happy life - provided you have the approval of the musicians you work with.
A lot of musicians talk about how they were into music from the start; they always wanted to be musicians. It wasn't like that for me. I didn't think of it as a job or a career - it was just something that was constant.
My interactions with musicians have been simply that: interactions with musicians. Issues of gender, or anything else beyond the music-making, have in my experience played no role in whether or not a musician has been able to articulate my intentions as a composer.
Classical musicians go to the conservatories, rock´n roll musicians go to the garages.
I don't get so much inspiration from other musicians. Especially alive musicians. Late musicians are good - Bach, Beethoven - yes, good.
I can't do too much musical movement with a lot of MC's, because they don't know how to follow me. But with Souls of Mischief, I could go anywhere because they are musicians - they rap as musicians, and they play instruments and produce, so they get that.
Once we went into the basement and learned a song, we felt successful. Then we learned two songs, and then we got a gig, and on and on - and that's the way musicians think. I don't know about other people - I mean, I don't know about all musicians either - but some are more driven than others.
When I went, I hadn't had very much time to have hopes or expectations. I knew very little about Nashville, and I think that was probably good. When I was there, I got really lucky - I ended up with people that just were amazing musicians, and that's the Nashville that I experienced. That is a big part of Nashville - there's a lot of musicians, and that makes it a very special place and shapes the city.
Orchestral musicians have a different approach than we do, and when I say 'we,' I mean musicians who don't know what they are doing.
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