If you truly have expertise - and expertise can be say a chess master who has really mastered something or an artist or a musician of some sort you know if you give a jazz musician.
Once the jazz musician learns all the fundamentals they can keep track of a lot of choices in an instant.
When you say what is the difference between me and my stage name the idea is that as a musician you always think of yourself as inhabiting a certain cultural space in the kind of a cultural landscape, so when I say cultural space what I mean to imply there is that you exist within certain parameters of how people think of culture.
A lot of the people that I photograph are master musicians themselves, whether they're singers or great jazz players and it's kind of fun to figure out who they came up with and who they emulated or who they idolized actually.
Many of the jazz musicians whom are no longer here. You don't realize that it's history when it is happening and then time passes and you look at a picture and you say "Wow, there is history attached to that."
As any jazz musician knows, it takes flexibility and adaptability for improvisation to create beauty.
He didn't want me to become a musician, he wanted me to be a doctor, because he said singing was too hard.
Music that is created with the primary aim of impressing other musicians fails to connect with the vast majority of listeners.
I have found that the best cure for self pity is to do something to help someone else.
Your development as a musician will come to an eventual standtill if you do not develop yourself as a human being. Only by having a creative, expansive and inspiring life can you create creative, expansive and inspiring music.
It's important to respect and exhaustively study the masters of music, but as you grow and develop it's important to use their discoveries, not as a final destination but as a catalyst for your original ideas.
What I like about being a musician is that I find the thing soothing, but I also give the soothing to other people.
He [Johnny Cash] was so fragile. We invaded Iraq in March, and he died in September. And because his health was so fragile, he couldn't take the controversy of making a public statement against the war. He knew that people were rabid. They attacked me mercilessly after I did the press conference with Musicians United to Win Without War. He knew that he couldn't tolerate that.
I'm not talking about what came later [after the American underground punk scene], indie music, or whatever you want to call it, but the music that came before that - that's an important story. So many interviews with musicians get the time or context wrong. You have these older bands, usually men, who tell stories about "Oh, we got into this huge fight, this guy punched that guy," that's the wrong sort of story. My view of the time is truly pioneering.
I think that it's fear. The musicians themselves don't seem to know enough about why they're in the positions they're in, so they're afraid to lose those positions. If you're 22 years old and you can't believe you're even in the position to have a career making music, the first thing you're going to think is: Maintain. Don't lose it. And that's precisely what causes you to lose everything.
I speak my mind and come from a place of conscience, as well as have fun as a musician.
I am lucky to have the greatest band and when you add a symphony orchestra to the mix it brings all of my songs to a whole new level. I wouldn't say I really change what I do but, having those talented musicians behind me, along with my band, really makes the songs so much bigger and more fun to sing.
When I lived in New York, there wasn't as much TV or film around. I got asked to do a couple of indie films, just based on me being from The Smashing Pumpkins and A Perfect Circle. I did a couple of indie movies from Japan and one from Canada, and I thought it was an exciting, fun thing to do. I had a great time doing it, it was just that, in New York, there really wasn't as much. My studio in New York closed, so I moved out to L.A. and just started looking into composing as another thing to do, as a musician. I like it a lot. It's fun and it's a different way of thinking about music.
I like the idea of being a student, and I play with very good musicians. So playing with them allows me to get better. My aim is to get better, but I really love it for its own sake.
One of the things I love within music and within sports is how often musicians and athletes thank their audience. In the art world, you would never hear that.
Europe was a very contentious subject in literature and yet jazz musicians still depended on Europe. Now it's not such a big deal.
I was at a time of my life of making choices, I suppose: am I a writer, am I a visual artist? And when I was a teenager. I thought I would be a film-maker. Am I a musician? If so, what kind of musician am I?
We [with David Cunningham] did do Top Of The Pops. It was an eye-opener. I mean, one of the things that was so interesting - I've talked about this a few times recently, and people can't believe it - they used to do this thing called tape switch with the Musicians Union.
The Musicians Union declared you couldn't mime on Top Of The Pops, which is obviously impossible, if you've got a studio-based record that you'd worked on for a year or something. And there were a lot of terrible performances. Because on Top Of The Pops, you were just thrown onstage.
I certainly know guys in comedy, I know some actors, and I definitely know some musicians, who have survived to a certain age and make a good living doing what they do, but nobody knows who they are. They wake up every day and they have the ability to get paid practicing their art, but underneath it all, if you scratched the surface, you still get, "If I only had my own show . . .," or "If I only had my own band . . ." It's what people always do when they want to be their own star.
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