Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.
What's happened - in our country, anyhow - is that the young people have shied away from the formality of the concert hall, that tie - and - tails philharmonic image.
With four people you can create one very strong kind of energy, but if you can get 65 people working together, and swinging together, that's a whole other kind of energy.
Because I don't believe music can be free unless it has something to be free from.
I have been recording for five decades now.
The hiatus you spoke about happened in 1998. I was somewhat numb from being out on the road every night. I had to stop because I was emotionally and physically drained.
A studio recording is perfection, but emotion and passion come only when you turn on the machine and go for the groove. If you do that with no mistakes, it sounds beautiful.
Brazilian music has many of the ingredients that I strive for in my own music: Strong melodies and a disciplined but intense rhythmic concept, and interesting harmonies.
I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.
Not compromising the music, but there is a way, by just showing the people that you're sincere and honest with what you're doing, and by talking to them.
Most recently we've been working in concert situations rather than clubs. because there aren't too many rooms there like Ronnie Scott's, that are pure music rooms, where people come specifically to listen to music.
1972 was a year of many pleasant and rewarding experiences for me:
I am glad that I wrote something that brought joy to millions of people.
I can count on one hand the number of instrumental hits there have been over the last ten years.
I find it very difficult to compose when I'm not playing.
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