After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.
My whole comic persona is that of a guy who explores the id: I romanticize gluttony, I romanticize laziness, and people identify with that.
You know as I started as a shy young conductor, I always wanted to cooperate. To build up the musicians. To help them to be better than without a conductor. And sometimes young talented musicians have to be encouraged.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
One of the mistakes women have made is to romanticize life in the rose-covered cottage and then, discovering their error, proceed to romanticize life in the working world.
There is an apprenticeship system in jazz. You teach the young ones. So even if the musicians weren't personally that likable, they felt an obligation to help the younger musicians.
There is something tenderly appropriate in the serene death of the old. Nothing is more touching than the death of the young, the strong.
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.
Death during adolescence feels unfair. We're young. We're invincible. Death is supposed to come with old age. When death breaks into our lives and steals our innocence, its finality leaves us unnaturally older. There are too many elderly young people.
I do want to inspire people - young girls who may like to wear boys' clothes and who romanticize women and feel nothing wrong with it.
When you romanticize something so extraordinarily in the hopes that it will divert you from agony, you're destined for a letdown.
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.
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.
A lot of my close friends are musicians and are consumed by the idea of death; their heads are like a torture chamber. I'm not like that - I don't have death anxiety and I don't think about it all the time.
They taught us because they wanted to pass the knowledge on and educate young musicians. It was not because they had to teach because they failed as musicians. There is a huge difference in the reasons why someone is teaching and what they can offer and what they cannot offer.
I know death comes. I've seen too much death, young death.