To some extent at that time, we injected rock and roll into that scene- we played loud and that was a huge turning point for that scene. We were involved in playing with all those people.
When you first get out of doing a show for a long time where you played a teenager, casting directors and producers all still look at you as being the character that you played for so long.
And Clinton was like that - he saw the whole playing field. He didn't just see the event that he was at or the circumstances of that week or that month. He saw the whole playing field all the time.
Orchestras are not used to playing the kind of stuff jazz musicians like to play. It requires a lot of rehearsal and recording time, so it's much easier to do on a synth or sampler. So, we came up with that idea.
I developed the Clock Theory to help me time records; you know, spin the record back two revolutions or whatever and then play the break, spin the other one back two, play, like that.
All the time I was playing the flute, the lines, the solos, the riffs, the construction, were based on my guitar skills. I did not play the flute to exploit its natural faculties, but I used it as a surrogate guitar.
I have been known to play a few rounds in my time. I'm not obsessive; I don't play in the dark, but even that's not out of the question because Stevie Wonder is also a golfer.
Yeah, you know, I'm always into cassette. At least they seem to be the longest-lasting medium we used to have. I don't play cassettes much anymore, but I play records all the time.
The Meters are, I think, the most influential group in our time to come out of New Orleans, to have changed and introduced us all to a way of playing, and to a groove and a level of feel in playing funk-jazz.
And for the first time in a long time, I'm playing along somebody that has that same energy and fire and plays pretty much the same way I do. So, that was just nice to say.
Jimmy Fallon and I play regularly at the Bayonne Golf Club in Jersey. He's eighteen holes of fun. Any time we play he has moments of brilliance, but also moments of utter catastrophe.
I watched Gretzky, I watched Lemieux. Maybe it's the time when you're playing, but for a kid coming into the league, you play the Boston Bruins and you just watched Bobby Orr.
Then I got together with my brother and a friend and we decided to play dates. The more we played, the more we wanted to do it. And it got to a stage where we wanted to do it all the time.
There was nobody at the time who was playing slide guitar like Johnny, and nobody, or no white guys at least, that was playing country blues like that on the acoustic guitar. And it was at that point that I realized what Johnny had to offer.
The first time I played golf was in Flushing Meadows, Queens, when I was about 16 or 17. They had an 18-hole pitch-and-putt. My buddies and I would hop the fence and sneak on and play.
I miss playing with Miles. I did play with him a little while before he left the planet, but even at that time I longed to maybe do some things together.
I can't wait to start something up myself that is actually about giving unsigned bands the exposure they deserve, especially when they travel so far to play the smallest gig they've ever played in their lives.
In this play we're dealing with relative truths - who's lying, who's telling the truth. But underneath that, Ed and I have hit this deeper level of intimacy between old friends that comes out in the play.
Michael: You wanna play games? All right, I'll play your fucking games.
Grady Daughter, Grady Daughter: Hello, Danny. Come and play with us. Come and play with us, Danny. Forever... and ever... and ever.
It's not how many tickets can we sell, it's where do we want to play, not where should we play to make the most money. We don't really care about that.
