A Quote by John Densmore

If an ensemble - I don't care if it's a duet or a forty-piece orchestra - the musicians, the two of them or the forty of them, are all trying to play as tight as possible, as one person. They're trying to play like they are one person.
If you're playing live, I like to think of the ensemble, whether it's the duet or a forty piece orchestra, as one person. And the entire audience, whether it's twelve people or twelve thousand at Madison Square Garden, is the other person. The two of you are going to dance together tonight.
The more the ensemble, the duet or the forty piece orchestra, plays as one person, the more it makes people dance, because you're back in the womb. You feel mom's heartbeat. It makes you move. It reminds you of that warm, groovy space you were in.
Even when you write it, someone's got to play it. So if you can play it and bypass all the rest of the things, you're still doing as great as someone that has spent forty years trying to find out how to do that. I'm really pro-human beings, pro-expression of everything.
But I'm trying to play into this role as much as possible and be a nicer person in real life.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; we've become the most famous bad orchestra in the world.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; weve become the most famous bad orchestra in the world.
I never looked at the masses as my responsibility. I can only love one person at a time. So I began. I picked up one person. Maybe if I didn't pick up that one person, I wouldn't have picked up forty-two thousand.
All musicians practice ear training constantly, whether or not they are cognizant of it. If, when listening to a piece of music, a musician is envisioning how to play it or is trying to play along, that musician is using his or her 'ear' - the understanding and recognition of musical elements - for guidance.
We have three kinds of guys on our team. We have guys that get it; they play good; they understand how to play winning football. We have some guys that are trying to get it, and they are working hard every day? We are supporting them, and we want the guys that have it to support them. Then we have some guys that don't get it and don't know that they don't get it. We are trying to replace them. We only have a couple left.
Black musicians were either trying to be American or trying to play down their Caribbean roots.
I had the chance to play with Benny 'The King' Carter here in Copenhagen for three days in the Montmartre, and two days in Paris. 'What a Thrill.' He knows so much music, and he is the only person that I get the shakes trying to play my horn behind or with him (smile). However, it was a ball.
Its just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.
It's just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.
I would love to do much more singing; it's just one of those things where I can't quite describe what it feels like when you're standing in front of a forty piece orchestra, and there's nothing between you and an audience but a microphone. It's like strapping yourself to a locomotive, and I love it.
Up to forty a woman has only forty springs in her heart. After that age she has only forty winters.
At a rehearsal I let the orchestra play as they like. At the concert I make them play as I like.
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