We're all just animals. That's all we are, and everything else is just an elaborate justification of our instincts. That's where music comes from. And romantic poetry. And bad novels.
People become so deeply attached to the sound of one period that they blow a fuse when you move on. I've heard people complain bitterly about recordings they haven't even heard.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
I'd been to Memphis before, but we stayed out of Memphis early on in the late 70s for obvious reasons. People were very sensitive about Elvis Presley, and my stage name obviously would be provocative to some people in that area at that time.
I used to be disgusted; now I try to be amused.
It's a petty thing, but I wouldn't join the Scouts when I was a kid, 'cause you had to swear allegiance to the queen. I'm just not a royalist. I think it's idiotic, a hereditary principle.
I get very frustrated by this term 'genre exercise.' I mean, what exactly is that? Genre is not really relevant when you are writing a song; hopefully you are doing it to explore something, to create something, and I don't agree that any of my albums are genre exercises.
There was not a lot of rock n' roll in the house. Our parents didn't think it was very groovy, and I tend to agree with them. If you grew up with Charlie Parker, Bill Haley wasn't very hip.
Obviously the people that I admired, like the Beatles, were really into rock'n'roll, but it was already a little past rock'n'roll when I started listening and making my own choices about music.
I found with this record I had to really be strong-willed, because in the past I've tended to tinker and add a thing or take a thing away, and nearly always been wrong.