A Quote by Harry Shearer
People don't play music in New Orleans for the reasons they do in Nashville or L.A. - to become stars or to get rich - they play because they've got to. It's in the streets, in their family, in their blood.
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There's a tradition - in New Orleans it still exists - where people play in the street. People play outside of the venues. Food, music, and that cultural exchange, it happens anywhere.
No matter what setting I play in, I will always be New Orleans. It's one of the only cities where you can hang out with the Marsalis family, the Neville brothers, whoever it might be, and we all play together.
If you play music for the right reasons, the rest of the things will come. The right reason to play music is that you love it. That's why I play music. I never imagined that I was going to be doing this, especially because I never thought of myself as an instrumentalist.
My parents were opera singers. I didn't want to play opera because I wasn't good enough. I didn't want to play their music; I wanted to play the music that I wanted to play, and I'm so lucky that today I get to play that music, even though I don't like every song I write.
Mostly, whenever I'm booked to do instruction, I just play a little bit and get people to ask questions. We'll play some music for 'em, 'til somebody hollers out, 'Play 'Milk Cow Blues' or 'Play 'San Antonio Rose.' We play requests and demonstrate our music.
It doesn't matter where we are. We can be marching down the streets of New Orleans, or we can be onstage in front of 15,000 people. As long as I know that I'm about to put my horn to my mouth and play some notes, that's what I most look forward to.
When you play Futures and Challengers for three, four years, you're playing in obscurity. You play the game for other reasons. You don't play the game for money or attention. You play the game because you like to play. You play the game because you enjoy the journey.
I always like to play very contemporary concepts of swing right next to New Orleans music because it highlights continuum.
I didn't get into music to become famous and I didn't get into music to become rich either - I got into because I liked it.
I come from making money in the streets. The streets all I know. All my family is still in the streets. So, it's going to be hard to pull me right back into that. When I ain't doing no shows four days out of the week, I may be in my hood or at my grandma's house in the hood. But yes, I got a kid. I got to get more serious about the music so he don't get dragged into that life.
You basically have to play everything (in New Orleans), because you're getting calls to play gigs of all different styles, from classical to R&B to funk; modern jazz to traditional jazz.
With 'The Humans,' I've found that because it's related to very familiar forms - the family play and the thriller, almost a genre-collison play - some people want it to be one or the other. Either less dark and more of a family comedy or a full-fledged thriller with blood and ghosts jumping out of closets. Everyone's taste is different.
You've got different people that have different views of New Orleans. When you say 'New Orleans,' you have people who just think of the Neville Brothers. You've got people that think of Louis Armstrong. You say 'New Orleans,' and you've got people that think of Lil' Wayne.
I loathe rock stars. I am a music nerd, a fan, a follower... just like any fan of music might be. And although I have blood-relatives, a lot of times I feel closer to my audience than my true family, because at least my fans get what I'm doing, to a certain extent, whereas my family does not.
People shouldn't get into show business because they want to become stars or become rich; they should get into it because they can't help but put on a show.
My music is special to people and I'm going to keep on making this kind of music because a lot of people had a struggle like me. You got to feel my music. If you listen to it, if you give me a second, you play three, four songs, you will become a fan.
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