A Quote by Frankie Valli
There were a lot of R&B groups that were my heroes, but the funny thing about my career and the way it went and where it went, at first I didn't really want to do pop music. I was a little bit more into jazz and R&B.
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Some people who make music are instantly very savvy about how they can get their music to communicate in a larger way. For me, the music was always first, and I put a lot of time and effort and thought into making the recordings. But everything else around it, all the things that were necessary to have a career in pop music, I was completely ill equipped to handle.
In the '60s, people were still very protective of each field that they belonged to. Avant-garde artists didn't know about rock or pop or jazz. And the jazz people of course didn't want to know about any other music. They were all just kind of protecting their territory.
I prefer to feel uncomfortable by participating in projects were I am not the specialist. I am always the one who knows nothing. Playing with jazzmen and knowing nothing about jazz. Playing pop music and knowing nothing about how to structure a pop song. And the funny thing, which still surprises me, is that I continue to be invited to play by new people, from different areas, every day.
We were approached by Alison Ellwood about the idea of doing a documentary. At first, we were a bit nervous because we didn't want it come across as a salacious 'Behind The Music' kind of thing. Alison did such a great job. It really puts perspective on things.
The hardest thing about being a young musician on the jazz scene is that there are so many styles of music, jazz and otherwise, that you're exposed to. The challenge is to use all that in your own way, to personalize all that has come before you and all that is happening around you. To get the music the way you want it, there's a lot of work involved.
Dick Clark was a really great influence in my career; he helped me a lot with his whole organization, and they were awesome to me at all different points - but one thing that I really disagreed with him on was when he said that what I do, pop music, is a disposable art form.
My thing was, I loved music. I played music: I played the saxophone. So the little bit of music knowhow I had, I tried to implement that in every thing I did, from my style, my cadence, the way I tried to pause and stagnate it; that all came from John Coltrane and listening to jazz albums. Trying to rhyme like a jazz player.
Drawing and visual pursuits were first. Music came and found me in a way. Really, what it's about is creative problem solving, and music is a lot more an expression of that than painting is for me.
It's a little bit more like I want to give this to the people that are really into it first - I don't have a lot of desire to be like Bon Jovi or something like that, I really want to concentrate on the music.
The 1980s were such a shock for me. I was really young, obviously, and The Slits were just mutilated. We were totally sabotaged to such a point that we were put out in exile. So that was the best way for me to spend the '80s: in the jungle, naked. Maybe there are more options now, and there's more girl groups. The only thing good that came out of the '80s was breakdancing.
For me, writing music is a way of processing the world. It's not a concrete thing, as in, "This piece is about giraffes." It's much more of an emotional sort of thing. I want people to find something out about themselves through my music, something that was inaccessible before, something that they were suppressing, something that they couldn't really confront.
I was brought up in a house with a lot of appreciation for music, all kinds of music, including jazz. But I never knew that it could really be a career. I didn't know any jazz singers. I never saw live jazz. I only heard these records.
Over the last couple of years, I've really worked toward balancing my life out more, having a little bit more time with friends, family and my boyfriend. There was a period of time when they were way down the list. It was all about music and touring and if everything fell by the wayside, so be it.
I think that when you're making your way up in the music industry, you have all these heroes and the reasons why they are your heroes. As soon as you get into the industry, your guidelines change a little bit. For me, my heroes now are great people first and great artists second.
I think that when you're making your way up in the music industry you have all these heroes and the reasons why they are your heroes. As soon as you get into the industry your guidelines change a little bit. For me, my heroes now are great people first and great artists second.
I know there were periods of times where I didn't feel understood, and there were very few people around me that I felt like they really got me. There was one person who was sort of the one in my life that really got me.In general, I felt a little bit on the outside and not totally included. There was a period of time when we were moving around a lot. So I couldn't really hold on to a certain set of friends. And so that was a little bit difficult.
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