A Quote by Dianne Reeves

My musicians know all of my music, and so that makes for something different. — © Dianne Reeves
My musicians know all of my music, and so that makes for something different.
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.
Working with different people and do things that normally I would not do makes the music interesting for me to continue. It keeps me alive. When I'm doing something alone, that is mine, I know how it is. But when I'm working with someone else, I also see the view from the other, and usually learn something new, try something different. This is very important to my happiness.
There was a lot of freedom, so bands in those days did not have to play for the public. They played for club owners that enjoyed music. You know, what happened - there was a lot of clubs that had bebop music or different forms of music. It was great for musicians.
To all musicians - forget gender - to all musicians, it's about - do what makes you happy. Just go for it, you know?
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.
I don't know if it's possible to affect my ego any more. There's no room left. For me, I think I make music like the way I think it should be made, like what rock should sound like. It has nothing to do with the current marketplace. And so from that state of mind, it's gonna sound different from anything else out there. And when something sounds different, I think that can be inspiring to other musicians.
As young musicians, we cut our teeth on doing gigs at clubs and functions and colleges. That was really the proving ground for young musicians, learning songs, doing covers of different songs that were popular, learning different genres of music.
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.
I would be happy if I could meet some musicians interested in different acoustics and traditional music. Maybe I will find some Native American or Latin tunes. Anything. Even maybe a great heavy metal guitar player or drummer, and we can do something wild together. My next step is making more music without formats or borders. Not just simple songs or doing covers, but music with more ideas. I think it will again be a synthesis with something else.
The thing that makes me want to write a piece of music is having something to talk about, you know? Something I want to get across. Because I'm a composer, music is my first language, and that's what I reach for when I want to convey something.
Even though there are so many different 'kinds' of music - different textures, different timbres, different attitudes - there is something divine at the core of all music.
You'll find little schools of musicians experimenting with different ways of making music in Brooklyn, all through Manhattan, in Queens, in Jersey, you know? The city is still bubbling with creativity.
That's for non-musicians to say: "I only listen to this or that type of music." I think musicians love all music, or at least that's my case.
I don't like that, because there are a lot of people whose works I admire as actors or actresses, or musicians. And you know, I've been a big fan of different musicians or actors.
I'd rather call it "instrumental creative music," especially the music that I've been doing. If a person would hear that music, they would undoubtedly call it "jazz." There is this whole generation of musicians that are playing and thinking critically for themselves and making music that's relevant to today. I hope that's the objective of a lot of musicians.
What I try to do is produce an atmosphere where musicians want to invest in what they do and give to the recording. I hire those musicians who I know will play something creative and interesting.
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