A Quote by Troy Andrews
I started off playing by ear, and being around a bunch of musicians and playing in the streets and in the different parades and, then, I got accepted to go to New Orleans Center for Creative Artists ... it's where Wynton Marsalis, Harry Connick, Jr. and all those guys went out.
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Actually, I started off playing by ear and being around a bunch of musicians playing in the streets in the different parades.
Jazz stopped being creative in the early '80s. After your acoustic era, where you had the likes of the Miles Davis Quintet, when it gets to the '70s it started being jazz fusion where you had more electronic stuff happening, then in the '80s they started trying to bring back the acoustic stuff, like Branford Marsalis and the Wynton Marsalis & Eric Clapton sextet. It started dying down from there. Miles was still around in the '80s and he was still being creative; he was playing Michael Jackson songs and changing sounds, but a lot of people were still trying to regurgitate the old stuff.
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's human nature and one day maybe 20 years from now some young kid will come up and people will tell him "my God, you are like a young Michael Bublé. It happened to Harry Connick Jr with the Sinatra thing and now people are saying to me that I am the new Harry Connick Jr. It is a natural thing. I remember hearing interviews with Harry Connick saying "I am not Sinatra, leave me alone, I am different". It's a small thing to deal with.
Kenny G is not real jazz. I don't even think Wynton Marsalis is real jazz. I don't think Harry Connick Jr. is real jazz. If there is such a thing as real jazz, The Lounge Lizards is real jazz, Henry Threadgill is real jazz, Bill Frisell is real jazz, you know?
I got into playing the jazz. I played jazz for a good while. I did the popular stuff first. You got the "Twelfth Street Rag" and those kinds of things. Then I got to hanging around with a bunch of guys starting to playing jazz. We'd go from one place to the other and take our instruments, just perform for free.
It was fun playing a horrible, snotty kid in 'Harry Potter', and then playing Prince Charming where I was also singing and playing guitar, and then playing a completely different character.
We've got a lot of guys in here that are playing for pride and contracts and different things. Now that we are out of the race, guys are playing looser and you can see it in our play.
The night before a game, I'd think about who I was playing, and then how I'd bowled against those guys, if I had got them out previously. While I was playing, I could recall nearly all my wickets and how I got the batsman out.
I was drafted by the New Orleans Saints, and quite frankly, I got worn out playing football. I got tired of it. With wrestling, there were so many variables that could go with it, so many directions you could go. Every night, it was different. Every night. It was a different town 7 nights a week and twice on Sunday.
Guys don't know it - it is New York. It's different from playing in other states. Playing here in New York is different. No way you get around it.
I write a lot of more instrumental music than I do vocal music. It's because I come out of a background of playing piano and then playing sax for a number of years. I kind of got into rock backwards. A lot of guys go into rock and then get sick of it and then go into something else. I came the other way, so I've always just had a lot more stuff lying around.
The Batiste family is a large musical family in Louisiana, out in New Orleans. People go to New Orleans, and if they go to any club, four days out of the week I guarantee you that you will find a Batiste playing in the ensemble.
I just started playing around different clubs, and I got a good reputation around New York City of having good timing, a good right foot, and I was "funky", "soulful", and all that stuff. Then I ran into this group, the Pigeons.
In September 2012, I got the blues pretty bad, so I stopped playing for a little while. I started to renew my playing by the time February of 2013 came around. I would go up and rehearse to different songs, play stuff like Count Basie records, jazz or rap.
We're all players and musicians and we sure all get along good. We just clicked right off the bat. We started playing and then we almost immediately started recording.
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