You can grow up with literally nothing and you don't suffer if you know you're loved and valued.
I just think music is so intrinsically linked with images in the culture that we live in that you'll be hard-pressed to have an experience with the music without a preconceived notion.
If you don't already know about jazz music, how would you be exposed? How would get an opportunity to find out if it spoke to you? If you get exposed to it enough, you might find a taste for it.
I think there's so much negative influence on children in school settings. It becomes learning by rote to pass a test. It's not contextualized.
For what I can imagine and feel and think and hear, I can hardly do anything on the acoustic bass. It used to be just pure frustration of imagining so much more and being able to get to a certain level of execution.
It's a pity that if someone who has a really profoundly potent art to share chooses not to or doesn't fit into this very thin slice of what's desirable and marketable, chances are the public will never get a chance to hear what they're doing.
My earliest attempts at writing were when I was seven. I would sit at the piano and transcribe the songs I heard on the radio. I'd change little things in the music and write different lyrics.
I don't watch TV, I don't spend time on the Internet, and I don't party much. I don't text very much, either.
I love people, and I love to be with people and to make music with people, but my natural state is to revert back to being by myself in my house, which is cool because that's where I practice and write and listen and study.
The benefit of the radio is, something beyond your realm of knowledge can surprise you, can enter your realm of knowledge.
There is an assumption that if you're young and pretty, you will get all these opportunities that are way beyond your musical foundation.
There's enough time in the day: If you go to bed at 10 and start your day at 6, there's a lot you can do in a day!
Genre boundaries are good for marketing but they all but disappear when you're a player.
I always say that the problem with jazz accessibility is not the content of the music, it's people's ability to access it.
Anything I do has to have integrity, so if you just want to make music, it's not difficult finding support. The hard part for a publicist or manager is making a star.
For un-subscribe please check the mail footer.