I really live a simple life and don't need very much to feel good and happy. Don't get me wrong; I believe you should get what you earn. Sometimes you have to fight for it.
I like to express certain things that happen in my life, the joy of spring, the birds singing and young babies coming into the world. You know, the whole thing as well as the part I'm not happy with, the sad part.
If I don't get enough sleep, my brain gets fatigued, and the voice suffers. If I'm doing some retail work and trying to read and record legal copy, I start sounding like I had a few too many the night before.
I make a project and I panic. Which is good, it can be a method. First, panic. Second, conquer panic by working. Third, find ways to solve your doubts.
I write at the piano, so I write things that fit comfortably under my hands, and I'm not thinking in terms of any specific compositional methods. I'm just seeking sounds.
I was born in an enemy country. Only in America can someone who came from that beginning do what I am doing. It would never happen in Germany or Japan.
Yeah, it's more like playing what you think is appropriate for the moment. It's not about trying to force any particular style within the parameters - and the parameters we play in are pretty large!
Yeah, well, it did earlier - but as Bobby and I have played together, our thing as a unit has become so strong that they kind of had to get in where they fit in. And most people do.
But I've come to the point in my evolution on the instrument where I realize that I can't play the same stuff that just a guitar player or organ player would play - and I need to embrace that in a big way.
That's the thing that we said about the horn before: it's a focus issue. It's like a singer versus a drummer. If a drummer's playing a drum beat, and a singer starts singing, what do you think the audience is going to do?
Some people say there was no jazz tenor before me. All I know is I just had a way of playing and I didn't think in terms of any other instrument but the tenor.
In most of the stuff that I've done over the years as a sideman, I wasn't really a session musician, because to me, a session musician is a guy who makes his living in the studio, and I never really did that.
If you're playing with somebody from another idiom, you can't react to them in the same way that you react to somebody that is closer to your idiom. You don't fall into the same habits. You find a new way of communicating.
While St. Louis is technically regarded as part of the Mid-West, it's actually - geographically and emotionally - more part of the South. I mean, the sensibility of St. Louis is really very much that of a Southern Mississippi river-town.
It's something that - jazz is one of the few things that you can go and listen to, I don't care where you're from, what you are, what background you come from - there's something there for you.
I think the avant-garde often hides itself in the highly incomprehensible because they are frustrated that the real world is so boring.
In the traditional modernist planning that created the suburbs, you put residential buildings in suburban neighborhoods, office spaces into brain parks and retail in shopping malls. But you fail to exploit the possibility of symbiosis or synthesis th...
In Copenhagen, there's a long-term commitment to creating a well-functioning pedestrian city where all forms of movement - pedestrian, bicycles, cars, public transportation - are accommodated with equal priority.
My drawing skills probably froze around when I was 18... Now I'm more interested in the story, how the drawings, the layout can help express the stories and communicate them.
I wear the same black suit. I have five of them. I pair them with a red scarf. I was wearing a red scarf when I won the first architectural competition of my career.
In an organic environment, every place is unique, and the different places also cooperate, with no parts left over, to create a global whole - a whole which can be identified by everyone who is part of it.
