A Quote by Rita Coolidge
I've always wanted to record a jazz record. I did one in the '70s with Barbara Carroll. It's been a journey.
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I wanted to put jazz on the record, all the loves of music that I had on the record, so I could show people I was ahead of my 19 years. It may have been over the heads of some people.
If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
I wanted to make a jazz record. I didn't want it to be a standards record.
I recorded my first jazz record in the '70s.
Jazz radio is not very friendly to pop singers who decide to make a jazz record. But a lot of people have been. A lot of the people I've talked to like the record.
I always wanted to sing a jazz record.
I wanted out of my record deal with EMI. They wanted me to record one type of album; I wanted to record the type of music I wanted to make.
I did not know about awards. I just wanted to break the world record and the Olympic record.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
What I say on a record and what I say off a record is two different things. And that's always been the case. There's a difference between confidence on a record and arrogance.
I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!
It was always important to me that I made a record where I really sang well, and I don't think it's happened yet. There's always a possibility with each album that I might not record again, and I wanted to produce one that I could feel was mine.
'It Still Moves' is really the only record in our catalog that I've always felt I wanted to remix. Part of the fun of that record was that we recorded it all to tape, and it was all super-duper organic.
I've always been in bands writing songs with friends in order to play shows or record a future record.
My hope has always been that each record could have its own audience. Of course, it's awesome to have a cumulative audience for more than one record, but I like the idea that there could be a record that an individual might like.
Everything we did, we did live - and then Bobby took it home and chopped it up and edited it. Which is pretty much what they did with every jazz record you've ever heard.
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