A Quote by Trombone Shorty

'Supafunkrock' is a musical gumbo. We throw all those musical influences into the pot and put it out there. — © Trombone Shorty
'Supafunkrock' is a musical gumbo. We throw all those musical influences into the pot and put it out there.
The Midwest is a musical melting pot and the source and birthplace of several musical genres.
We've had musical stuff in the show [South Park] forever. That's mostly because Trey's a big musical fan, and he's a great songwriter. He's been writing songs his whole life. So since the beginning, we've always put a lot of musical moments.
At one point when I was very young, when I was first starting out, I thought, 'Well, one day I'll be able to put all the music away and become a real comedian.' But then I realized there are amazing musical comedians out there, that musical comedy is probably something I'll always want to pursue.
Probably my two biggest musical influences were the Everly Brothers and the Beatles, in chronological order. Both of them have had a very simple-sounding musical style that's actually quite complex as far as popular songs are concerned.
I have mixed feelings about 'Car 54, Where Are You?' Because we shot it as a musical and whoever the studio head was at Orion, or whoever the powers that be were, cut all but, like, two musical numbers out of it. That is the same as cutting the musical numbers out of 'The Wizard Of Oz'; it wouldn't be that interesting.
I would love to do a musical. Put that in the universe! A rom-com musical!
New Orleans is like a big musical gumbo. The sound I have is from being in the city my whole life.
Every year I used to write a musical inspired by John Waters, and I would get all my friends together and put on this perverse, emotional, tragic musical.
I do think musical-theater actors can get a bad rap, and I see why. There is a certain slickness - there's nothing better than an amazing musical, but an okay musical can be one of the worst times you've ever had.
Every disease is a musical problem. Its cure a musical solution. The more rapid and complete the solution, the greater the musical talent of the doctor.
When you step out and do a song in a musical, the easier thing to do is make it funny. But when those transitions become necessary, when they aren't camp, that, to me, is magic. I've done musical comedies and enjoyed them, but subject matter that's deeper and more realistic is always what's appealed to me most.
Looking back, I think I was always musical. My dad was very musical, and I think my mom was musical.
Louie Bellson represents the epitome of musical talent. His ability to cover the whole musical spectrum from an elite percussionist to a very gifted composer and arranger never ceases to amaze me. I consider him one of the musical giants of our age.
Producing a one-hour show that has to reinvent musical numbers, and interpret those musical numbers with a large cast, is difficult.
I'd love to do a modern-day musical that's full of original music. To get your contemporaries to sing and dance without looking foolish and for it to be transformational and magical and all those things a musical is supposed to be.
Whatever is original in my writing comes from my musical apprenticeship. I look for rhythm in words. I imagine words as if they were musical chords. Often I'll write something, read it, and find it musically unsatisfactory. There is a musical imperative in my choice of words.
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