A Quote by Hamid Drake

The place that I found where European musicians and American musicians come together is that odd middle world which is called uncertainty. — © Hamid Drake
The place that I found where European musicians and American musicians come together is that odd middle world which is called uncertainty.
If North American musicians would only know how uncomfortable life is for European musicians.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
There are so many great players walking the planet but it is rare to find musicians that can live life together in a way that isn't ego centric. For whatever reason, musicians are just bizarrely composed humans. I think I'm living in the middle of a miracle.
No, it's the musicians and I must say they are an accomplished bunch, but odd, as musicians tend to be. Is it the vibration from their instruments, do you suppose, working on the brain? All that fraught buzzing?
... we weren't very professional; she could have gone to almost any town and put together a smoother ensemble, but we were pioneers, and professional musicians probably wouldn't have come up with what we did ... professional musicians probably wouldn't have given Janis Joplin the space to be herself, which was probably our greatest gift to her
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
We have been working with Habitat for Humanity and we have built eighty homes, 80% of which are being lived in by New Orleans' musicians. It is called the Musicians' Village and at the center is the Ellis Marsalis Center for Music.
It is my belief that there is a tendency among the so-called 'modern' or 'hip' jazz musicians to consider styles other that their own, 'corny', and it is my contention that in actuality it is these musicians who are producing that which in future years perceptive critics will deem 'corny'.
The availability of downloads is fantastic, but you don't know which musicians are playing on the songs anymore. It's kind of making musicians faceless, you don't get musical solos on records anymore. You know who the singer is but it's the poor old musicians who suffer.
I feel like musicians have such a precarious place in the political discourse, because musicians are, sort of just by nature, people-pleasers.
Musicians are affected by the audience just as much as audiences are affected by the musicians. The only problem is that often times musicians won't allow themselves to admit to that fact.
I don't get so much inspiration from other musicians. Especially alive musicians. Late musicians are good - Bach, Beethoven - yes, good.
Musicians and non-musicians alike are priding themselves on the width and breadth of their musical interests, which I think is to be encouraged.
I have a theory that musicians recognize each other and if they are destined to collaborate together they will. Mainly, they recognize each other according to the class they belong to. If they are punk-rocker kids from the neighborhood, they are going form a band. If they happen to be musicians that are going to play in pubs and restaurants, they are going to recognize each other, form a band and play together. If it's about musicians that are playing jazz and are going to jazz festivals, for e.g., then they are going to meet and work together.
I was afraid the other musicians might want to present themselves too much, though I see in the coverage I've received of the album that the musicians got wonderful reviews for their contributions and abilities. I think the four musicians played freely within my limits.
They [the teachers at European conservatories] 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.
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