I love the theater as much as music, and the whole idea of getting across to an audience and making them laugh, making them cry - just making them feel - is paramount to me.
There's a wonderful tradition of jazz people getting on stage and jamming and finding some feeling for music with audiences who may be fresh. For others, it might be just like a comfortable shirt they've been wearing.
You get the feeling that on a lot of days the audience for most music would kind of rather not be faced with the artist, especially because we've been educated to think that the artist are these special creatures are otherwordly and aren't like us.
To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.
When you're playing music, say for instance, you're playing a part of the band and you're looking at your music, your horn is down into the stand. This way, it's up and it goes right on out to the audience, you know?
Miles Davis turned his back to the audience when he came out on stage, and he offended people. But, he wasn't there to entertain; he was all about the music. I kind of do that.
Basically, radio hasn't changed over the years. Despite all the technical improvements, it still boils down to a man or a woman and a microphone, playing music, sharing stories, talking about issues - communicating with an audience.
I've built a solid career there, but America's ten times the size. Now that we're onto the third record, I feel like the stars have aligned and American audiences are embracing my music even more.
Until MTV, television had not been a huge influence on music. To compete with MTV, the country music moguls felt they had to appeal to the same young audience and do it the way MTV did.
You can never judge any music by their audience. That's the main reason people in England have a prejudice against someone like Skrillex. You judge people by their music. That's always been first and foremost.
Playing music for as long as I had been playing music and then getting a shot at making a record and at having an audience and stuff, it's just like an untamed force... a different kind of energy.
My audience is the baby-boomers, the bulk of the population. This is also a group that is being ignored by most record companies because they're not the Top 40 hit singles market. They forget these people still listen to music.
Lou Tyrrell has created a theatre that is a safe haven for playwrights, a birthing center for new American writing. Arts Garage has created a vital, enthusiastic audience for theatre, music, painting and sculpture in Delray Beach.
It's interesting, as I said on the last tour in America, the audience actually came out, they had to have been the kind of fans who listened to my music via their parents, you know what I mean?
I started growing my audience in small clubs through word-of-mouth. I started making music that isn't necessarily commercially viable, and it's not necessarily marketable to my peers to a certain extent.
I don't think shoving my butt into people's faces will tell them anything about who I am. How is that connecting to your audience? What is that doing for your music?
Scotland is one of my favourite places to perform: it's really something special. Scottish audiences are just so enthusiastic; their approach to dance music just feels similar to my own somehow.
The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.
The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me.
All three networks have always had a morning show but now cable of course is taking some of that audience away and a variety of other things, probably the Internet as well.
So far as I know, anything worth hearing is not usually uttered at seven o'clock in the morning; and if it is, it will generally be repeated at a more reasonable hour for a larger and more wakeful audience.
