A Quote by Mose Allison
I just try to do as good job with the material as I can and play some jazz as well, some improvised music, and do that every night. Just see where it goes.
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My genre of music is very eclectic. I might play some Latin jazz, or just go into a spontaneous jazz thing. That's the thing about coming to one of my performances. Not every show is the same.
In order for a musician to grow, he's got to pay his dues. Some musicians ask me, 'well, what do you mean? You're saying I have to 'starve' and pay all these dues just to play jazz?' And my answer to them is, well, to some degree, yes! Because in order to play jazz you have to live it. Those notes mean something. They don't just come from your brain, they come from your heart and soul too. And in order to have that heart and soul you have to experience life. So I relate my music to my life and my life style. You can't separate the two.
You can't get tied into your past. It's not fun for me. You can't just keep doing the same material forever. Some people just play the hits, and it's the same show every night. They're happy to do that. I personally am not.
You can't just play a house set for four hours at the Sheraton. You have to be creative and throw in some jazz, some Latin music, and really mix it up.
Jazz goes into folk music, into rock music. Jazz is in practically everything except classical music where they're reading the same music all the time, the same way, the same tempo every night.
Jazz is not the kind of music you are going to learn to play in three or four years or that you can just get because you have some talent for music.
I don't really read a lot. I got a few Booker Prize books and some others and thought I'd try this but quite quickly I just stick them down. I do like some Stephen King books but with some of them I just put them down as well. But I'm like that with telly stuff as well and films or music.
I just continue to look for different material, great material, as good as I can find, and try to go in there and do as good a job as I can do in making it a record. That's all you can expect. That's all that you can do.
Kenny Chesney's music cuts. He gets into those massive ballads like 'There Goes My Life' and 'The Good Stuff' and things like that that just crush you, and delivers them so well. Some of that you can't really put your finger on; it's just magic.
Josh [Gad] is such an amazing improviser and is so good when the material is flowing from him that sometimes, if a written scene isn't working quite right, I'll tell him that we've got it and that he can just play. He'll blow us away with some super weird stuff and some wild things that we might use bits and pieces of in the edit, and then I'll say, "Just for good measure, let's do one more of the scripted version."
The Nazz survived for 18 months - that was my first taste of fame on some level and of the overall experience of being in a band. There are good and bad aspects, and I got to taste some of both, and, well, it's not as much fun as what you see in 'A Hard Day's Night,' let me just say that.
A novel is what you dream in your night sleep. A novel is
not waking thoughts although it is written and thought
with waking thoughts. But really a novel goes as
dreams go in sleeping at night and some dreams are like
anything and some dreams are like something and some
dreams change and some dreams are quiet and some dreams
are not. And some dreams are just what any one would
do only a little different always just a little
different and that is what a novel is.
You don’t think when you play music, you just try to play and be in it. It is the same for me when the writing is going really well. It’s the same kind of feeling. I’m just in it. It’s not the words, it’s not the sentences, I’m not aware of it. Then it’s good.
Some people try to get very philosophical and cerebral about what they're trying to say with jazz. You don't need any prologues, you just play.
Artists aren't necessarily business people. And they aren't necessarily aware of all the things that go on in their names. Some just want to make some music, but there is a lot of greed
among artists as well. Whether or not we know it, we are all to blame. I think it's time - starting with the artist - to try to be a little more responsible and aware of what goes on in our
name.
When you did the job, you thought you were just trying to amuse your friends who are all on the job. I'm just trying to make the sound guy laugh, the script supervisor. A movie like Caddyshack, I can walk on a golf course and some guy will be screaming entire scenes at me and expecting me to do it word for word with him. It's like, 'Fella, I did that once. I improvised that scene. I don't remember how it goes'. But I'm charmed by it. I'm not like, 'Hey, knock it off'. It's kind of cool.
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