There are only so many letters in the alphabet. When I talk to young musicians or authors and they ask for advice, I say, You gotta learn all the letters of your own personal alphabet. With music, you need to know all the different kinds of music and everything in and around your given instrument.
David Lee Roth
As a developing musician, skiffle became a platform for me to start playing music.
I realized pretty soon that I have to do more than just play bass in the background way. So, I developed a kind of playing which only a handful of musicians accepted.
A good song and good musicians can really move mountains.
I'm quite ignorant about fashion and I'm colourblind, so it's all a tad tricky. My only knowledge of that world comes through Christopher Bailey, whom I first met in 2008 when I did a campaign for Burberry that featured musicians, artists, actors and sportsmen.
There seems to be an inclination among rock musicians to be very carefree with money, but I negotiate the best flight and hotel deals on our tours to maximise the band's income - I don't want too see too much taken off the top line.
I don't like that, because there are a lot of people whose works I admire as actors or actresses, or musicians. And you know, I've been a big fan of different musicians or actors.
I didn't want my records to sound like anybody else, and when I've got my guys in the studio, I have a language with those guys because we work together every day. A lot of times, you bring in outside guys, studio players, whatever, and they're great musicians. It's just that they don't necessarily play the way I want it to be played.
It seems like bluegrass people have more great stories to tell than other musicians.
My grandfather, Arthur Baskerville, he played and still plays a little bit piano and trombone, and so when I was a kid, I always heard jazz around the house, but I also went to his gigs, whether it be a Saturday brunch in my hometown Columbus, Ohio. We'd go and hear him play with some of the local musicians.
I get really insecure because even though I can speak in musician's terms, I don't know as much as real musicians.
In chamber music, the audience can hear each instrument and understand (and feel) what the composer and the musicians have in mind as they play.
What you learn from working with other performers and musicians is invaluable, really, and can only help you grow. I mean, if you spend your whole life focusing on yourself, you're not really learning much.
We're not going to be the coolest rock stars in the world. We're trying to be good musicians.
There's something about live players that you cannot get with machines: With live musicians, you can strike a groove, you can feed off each other... And, even though somebody might make a slight mistake, it's all real!
When you're listening to radio and hear the same 20 songs over and over and over, you want a break from it. Sometimes you don't want to hear something that sounds just like everything else on the radio. Eventually, if you hear the same sounds and the same musicians and the same mixes and all of that, it will start to sound like elevator music.
Certainly one of the more common experiences in the jazz field is discovering someone new. Improvising musicians are capable of being musical travelers, voyagers. We want to join in on whatever we hear. There is a freedom to wander the musical landscape.
My primary influences were the best jazz players from the 50's and 60's and later some of the pop people from the same time period along with the better of the well known blues musicians.