A Quote by George Shearing
When Hank Jones had his night off, I would get somebody to take my place as intermission pianist and I'd play the show with Ella, so I would get a chance to play with Ray Brown and Charlie Smith as well.
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It's all very well having a great pianist playing but it's no good if you haven't got anyone to get the piano on the stage in the first place, otherwise the pianist would be standing there with no bloody piano to play.
For my money, Ray Brown is the greatest living bass player. Every great thing that's happened on bass since Ray Brown -- all of us point back to him. That's where it started, you know. Ray Brown is definitely a walking master, and to get to play with him is obviously an opportunity that no one should ever pass up.
Last tour my bass rig was breaking down every other night. That was a pain. We would get on stage and Trey would count off the song, and I'd play the first note and nothing would be there. Those guys would just roll their eyes.
I went up to his [Hank Jones'] house and there were four guys there: Dizzy Gillespie, Charlie Parker, Bud Powell, and Max Roach. Not a bad place to be. Scared shitless, but a nice place to be on my second day in New York.
I was probably 16.I played - I tried to play these songs that I had written. And, this was a common theme when I was younger: I would write a song about somebody, and they would come to my show. I wouldn't be able to play the whole thing, because, there would be some giant, loaded secret coming up in like, the third verse, or something.
Blood Brothers! I've always wanted to play Linda and when I'm old enough, Mrs. Johnston. I would love it if Cameron Mackintosh brought back Oliver! as I would love to get the chance play Nancy as well.It's also been an ambition of mine to create a role in an original cast - and in the long term I would love a career in television! So much to do... so little time!!
I would love to be on a show where I'm allowed to play a character that you're not suspicious of, from the get-go, and who's someone that you can just relax with, take in and like, right off the bat.
My dream as a child was to play with a bass player like Ray Brown, who played with the Oscar Peterson Trio. The feeling I had listening to his work was almost carnal, so to actually play for him was earth-shattering for me.
Night after night in the '50s, I traveled all over New York City. The promoter had 10 acts, and the winner each night would get five dollars; second place would get three dollars, and third place would get two dollars. He always put the best acts on last so the people wouldn't walk out, and the worst acts went on first. He always put me on first.
Ray would be in trouble, he would get drunk, he would try and kill J.R on three different occasions, he would make mistakes with financial affairs, and have various human problems, but he didn't have any mean bones in his body! That was a little bit of what the show was about.
If it was up to me, I would be given ample time to do a full on performance. I would play all of the instruments that I can play, really show off to the world, then maybe have an Intercontinental title match and follow that up, maybe go out against somebody like The Undertaker or John Cena, anybody that can really top off a great performance.
My parents were really into music. They would play the Funkadelics, Parliament, OutKast; they would just play that all around the house. They'd also play Isaac Hayes, Marvin Gaye, James Brown.
As an actor, the joy lies in being able to play roles that you are not. If I get a chance to play a sofa or alien, I would love it.
Black music has always known, and not been afraid to acknowledge just how high the stakes of Black thought are. To summarize the final soliloquy of Clay, the protagonist in LeRoi Jones’ (aka Amiri Baraka’s) play Dutchman. You’d better be glad Charlie Parker could play him some horn and Bessie Smith could sing, because if they didn’t make music they might murder you. One would be hard pressed to find another group of people on this planet whose music is a surrogate for murder. One would be hard pressed to another group of people on this planet whose life is a proxy for death.
It is important that whenever you do get opportunities to practice, just get in some batting and be in a place where you feel if you get a chance to play, you can do well. It's important to be in that zone and be as practically ready as possible.
Rattigan's world demanded unwavering trust in principles, loyalty, and virtue. At the time of this play - Rattigan was writing this play in 1947 about an incident that took place in 1914 - should a boy say he didn't do something, his father would believe him; a British father would take the defense of his son's honor to his grave.
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