A Quote by Esa-Pekka Salonen
The music I turn out these days is the kind of music I want to hear myself.
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I play piano and guitar and I do write my own stuff so to a certain extent I know what I want to do in regards to music. But I'm still finding out what kind of music is my favourite kind to listen to, never mind do myself so I've got a lot of time to find out myself and develop myself as an artist.
I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.
When I listen to music these days, and I hear Pro Tools and drums that sound like a machine - it kinda sucks the life out of music.
I started to music when I was about 19 years old. Most people that do music, they get training, or they develop themselves before they let their music out. For myself, I was actually developing myself and putting my music out at the same time.
What happens when I'm making a new album is I try not to listen to music that's coming out at the time. I turn off the radio and don't read any music blogs, because I tend to get really distracted by new music. When I hear it, I think, "Should I be doing that?"
I don't listen to music when I write, but I do turn on appropriate music when I read portions of my manuscripts back to myself - kind of like adding a soundtrack to help shape mood.
there are two kinds of music - good music and bad music. Good music is music that I want to hear. Bad music is music that I don't want to hear.
That's the kind of music I want SoulBird to represent: music with intelligence and heart, music that moves people in their souls and their bodies. Music with wings.
I love music. I love every kind of extreme sort of music, and many different genres, and if I were to have to dedicate myself to just one kind of genre, I would feel kind of gypped. I'd be like, man, I wish I could do this or that. And really all it takes is trying it out.
It's funny, because music is one of those things it is natural to go into. You hear it so much growing up, it kind of permeates you and eventually you spew out some music of your own.
Make the kind of music you love even if you never hear it on the air. This was the basic lesson I'd gotten from Alan [Lomax]. Alan said, Pete, look at all this great music around. You never hear it on the radio, but it's right there, great music.
I can see myself retiring from rapping, but I don't think from music. After that, I think I'd just go into some other kind of music, 'cuz I'm a worldwide fan of music, all types of music, all cultures, so I'll always be involved.
The way I look at music, what I'm interested in is not necessarily creativity - in many ways I think creativity is overrated, actually. What I think is important is authenticity. I want to hear music that has the resonance of the people. I want to hear music that is an amplification of them. Because then, I can experience the people. But because the music has become so institutionalized, everyone is learning and regurgitating the same material in the same way.
I try not to worry about other people's music. But if there's one thing that I hear these days, it's that people try and put [music] down so tight that they take all the color out of it.
When you say, 'Man, what kind of music does Outkast make?' You be like, 'They make Outkast music.' What kind of music does N.E.R.D. make? They make N.E.R.D. music. I want to be one of those people, because there's so many layers to the music I create that I don't want people to expect me to do one thing.
Being Bob Marley's son has done many things for me, in terms of having a career in music. I'm very proud of my music, and I'm very proud of where I'm from. People hear that I'm Bob Marley's son, and they turn on my music to listen just out of curiosity.
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