A Quote by Gerry Mulligan
In fact, I heard Bird first, and had got well into listening to him. You know, it's the kind of accidental thing that awareness of a player is: what's available, what somebody happens to play for you.
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We brought him [Raffi Torres] in because he was an emotional, physical player. He's had nothing but a great attitude and a great work ethic with us all year long. He comes to play, prepares himself real well. We need him to play the way he does. You know, he's a little bit sometimes outside the box, but you've got to let him be who he is.
I've come close to matching the feeling of that night in 1944 in music, when I first heard Diz and Bird, but I've never got there. . . . I'm always looking for it, listening and feeling for it, though, trying to always feel it in and through the music I play everyday.
I think I've heard somebody say that I was a well-dressed golfer. I guess that has something to do with the fact that a lot of people who play golf don't dress very well.
The guy [Doctor Strange], he's like most of us, he's uncorrupted flesh from the beginning of his life, he's somebody who's not marked with original sin or any kind of crap like that. He's somebody who's come into this world and had experiences that have shaped him to the point that we first meet him. There's always got to be leverage. I think there is some clear explanation of that within this film, but potentially further down the line...for more of that to come out as well.
Well, a funny thing, there are three that I like all for the same reason, golf, fishing, and shooting, and I do because first, they take you into the fields. There is mild exercise, the kind that an older individual probably should have. And on top of it, it induces you to take at any one time 2 or 3 hours, if you can, where you are thinking of the bird or that ball or the wily trout. Now, to my mind it is a very healthful, beneficial kind of thing, and I do it whenever I get a chance, as you well know.
Lil Wayne is somebody who I used to ride to school listening to in my car. You know from Tha Carter to Tha Carter II, to Dedication 1 & 2, to Da Drought, his mixtapes. You know you got that for him as him being a rap legend, somebody who you look up to.
I'm from Arkansas, so I didn't even know who Howard Stern was until I was about 18 or 19. I only kind of knew what I had heard about him; then I saw him doing his thing. That's what I really liked about him.
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.
I love Mike Tyson. I was a fan, as everybody else was. The moment somebody stood up to him, he didn't do so well. And that's the same thing with Anthony Johnson. The guy's a bully. He wants to intimidate you; he wants to dominate you. He wants to knock you out. But what happens when you don't knock somebody out? What happens?
Earl Scruggs had this thing that it wasn't just the technique or even the instrument. It was him. There was this soulful quality that came through that made you - if you're somebody like me who was, I guess, supposed to play the banjo, it made you stop in your tracks, and you couldn't do anything until you got done hearing him play, and then immediately you'd have to go try and find a banjo.
Well, you know, the first step I took was to drop the alto and baritone and concentrate on tenor exclusively, a decision I've never really looked back on with any regret. Another thing was that I was 17 when I moved up there, and my listening had really focused on freer music in the previous couple of years- Coltrane was playing with his expanded group, and everyone was listening closely to that, and we were into Shepp and Ayler as well.
We think it hugely important to support young artists, there is a war against that kind of artistry, that kind of creation...When somebody is 19 years old, they're gonna do what they're gonna do just like we did... For me the most important thing was for him to know anytime he can call and I'll come whatever happens.
One thing I know is if I have my best player, I'm not going to let another team take him out of the game so I can throw to somebody else. I'm going to find a way to get my best player involved so they can't take him away.
I would rather do a play because it's instantaneous. You go on the stage, and you know whether it's happening or not. Somebody asked me 'What is acting?' And I said, 'Acting is listening.' And if you ain't listening, nobody's listening.
You know, another jazz drummer, Ed Thigpen, who played with Oscar Peterson way back - it was the first time I ever heard rivets in a cymbal. And then I heard that Chico Hamilton had them too, and I went, 'Oh, that's it. I'm taking that for my sound.' And it worked well on 'Riders On The Storm,' so that's one thing.
It thought about the magic that happens when you tell a story right, and everybody who hears it not only loves the story, but they love you a little bit, too, for telling it so well. Like I love Ms. Washington, in spite of myself, the first time I heard her. When you hear somebody read a story well, you can't help but think there's some good inside them, even if you don't know them.
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