What does New York sound like? For me, the Charlie Parker at the Royal Roost recordings on the Savoy label are the total embodiment of the New York music experience.
The idea is that we're doing it just for the joy of the actual physical experience. We may record something just for the fun of it, but the idea is just to be truly joyful and truly fun, especially for me, because I take myself too seriously all the ...
One of the things that's influenced me musically was my experience at Brown University. I was surrounded by musicians that I really admired, and felt challenged to come up with music, lyrics, and recordings that stood up to the expectations of those ...
I don't know what they're thinking about. Just because someone says, 'I like what you do' or something: They might like it today and tomorrow they might not. I've had that experience with record companies.
I really do love Diana Ross; I grew up listening to her records. I grew up in a little town in Mexico, so while we got the music, we never got the experience of watching her.
It's traumatic to meditate on the availability of information through the Internet, or the way we perceive the world as a result. People don't experience things totally or viscerally anymore. It's all through representation, be it a record on YouTube...
Is it a coincidence that in 1998, Barack Obama talks about a majority coalition of welfare recipients and in 2012 we got a record number of Americans on food stamps while he's president? I don't think it's a coincidence.
Maybe a part of me recognized how right the improvising spirit of jazz is. Not the sounds, but the freedom to work with musicians who work that way. It felt very natural to me, but I think there's a way to do it without it being a jazz record.
We can be proud of our record as an international beacon of liberty. From fostering democracies in Eastern Europe to the stabilization of Iraq and Afghanistan, we have been true to that calling and helped spread freedom to oppressed peoples everywher...
There's probably a little more creative freedom in cable versus network, a little less of a committee looking over everyone's shoulder, but it depends on the network; it depends on the show; it depends on who the head writer or show runner is and wha...
I had all the material for a long time, but I was just too busy. Sometimes we'd sit around at home and sing some of these songs at family things, and everyone always said I should record them.
The human face is the organic seat of beauty. It is the register of value in development, a record of Experience, whose legitimate office is to perfect the life, a legible language to those who will study it, of the majestic mistress, the soul.
But what you realise after you've been in the business for a while is that people develop opinions about you that don't have anything to do with your music, they like or dislike you for a million reasons, they like or dislike you for your last record...
I've always been one for show business. I like performing, and I used to get criticized for having production value. But now it's all that! People need to get what they pay for! Otherwise, just listen to recorded music.
I don't even listen to the records after they come out. It's outlawed in my house. My wife and my kids can't play any of my music around me. Once it comes out, for me, it's just business. Numbers.
The music business has changed incredibly. There used to be 50 record companies. Now there's only three, and it's just getting smaller and smaller. But then again, you have the Internet, so anybody who has music can get it out there.
I think the music business is probably not happy with what we've done, because the people buying the record have actually got to pick what they want to buy, rather than being told what they should buy.
After 'Kelis Was Here,' I was done. I was like, 'I will never put out another record again; I hate this business; I hate all these people.' I was in this race that I didn't even realise that I was in.
To keep the record straight, it wasn't always John and Yoko. We've all accused one another of various business things; we tend to be pretty paranoid by now, as you can imagine. There's a lot of money involved.
When I first started recording, I was told by all of the experts in the business that the kind of music that I was doing was never going to sell. That disco was the coming thing and it was going to take over and what I was interested in was a minor s...
If you are a superstar, or whatever you want to call yourself, a person who's had outrageous success, and you decide to go indie and tell the record companies to screw themselves? That takes a certain amount of courage. And bullheadedness, really.
