I didn't follow the standard rules of bass playing, and many musicians on many different instruments who became noteworthy for their unique or particular style did a very similar thing.

We'll see some simplistic players for a while, who'll then get into more complicated things and evolve with their instruments. This is a cycle that happens over and over again in music.

Very often I suspend my musical sensibilities to enjoy music as a fan.

It was also important for me to have a burning desire to achieve something worthwhile on that instrument, and I devoted many many many hours with little or no compensation to perfecting whatever I could, because I loved it so much.

I listened to many different types of instruments and music, and have always tried to look at the bass as an instrument as opposed to only a bass.

I've been an amature inventor for a long time.

I think the future looks great for music, musicians, bass players, and all we love about music.

It is never easy for anyone to have success in music.

What people think of me and my playing is up to them, not me.

History has repeated itself many times througout the ages.

I believe the best persona to be onstage is the one that comes naturally.

I plan on doing a lot more work on my own, and discovering and doing more.

If I had to do it over, I wouldn't change a thing.

I didn't follow the standard rules of bass playing, and many musicians on many different instruments who became noteworthy for their unique or particular style did a very similar thing.

My home studio is my private instrument for me only. It's not intended to record anyone but me.

I'm a fan of many different styles of classical and symphonic music.

Music is always changing and the changes are unpredictable.

And no again: My studio is not a first or any step toward becoming any type of businessman on my part.

Be honest with yourself and the way you act when you hear music. That way, when people watch, they'll see something from your heart and soul, and as a result will communicate your feeling and thought much better.

I love a lot of reggae, but I've never had the opportunity to play with any reggae guys.

I try to do my absolute best for the people who come see me play.

I gave up a lot of things in exchange for my success.

That's Tommy, this great producer who comes in contact with people and must have a mental library of personnel who are great for this and great for that, and he brought this whole group of musicians to the project that I'd never worked with before.

Every musical movement that is big enough has to produce some good musicians who wouldn't have had the incentive to start playing without it.

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.

We were brash young fellows'. I was always hanging with the older crowd anyway. The musicians were the Hip Cats, and I was hanging with them anyway. I Just started out real early.

You can have all sorts of relationships, but there's something with musicians working together where you can have relationship that can just continue to grow in a beautiful way.

Most musicians count at the beginning, and never count and talk to their musicians after that. They only talk to them at the end of the song. But I would count with them and talk.

It's my fault in many cases because I don't initiate the contact to talk with a lot of other musicians.

Musician jokes are a kind of joke that usually have to do with how much money someone makes. Musicians are always starving, so they're really mean to each other about who makes what.

What 'jazz' means to me is the worst kind of working conditions, the worst in cultural prejudice. The term 'jazz' has come to mean the abuse and exploitation of black musicians.

We wanted to guide the musicians, so we could create our own sound. We would never let the band just go in and play the chord sheets. We were very focused on what we had in mind for these productions.

I don't take compliments very easily. I think most musicians suffer from low self-esteem to some extent.

I'm always going to get more of a charge playing Chicago than I will Duluth or some place like that. Just because of the history and the people there are way more knowledgeable than a lot of other cities. It's an amazing music scene with some great bands and great musicians.

Watch MTV and you can see what the music scene is like in England. The Spice Girls? Not a lot of creativity in the commercial area. There are still great musicians in England, but not a lot being heard that much.

Success breeds volume, and it's just amazing how many young writers, artists, and musicians there are in town.

At the art college in Edinburgh someone arranged for some London groups to come up and play. I was in a supporting band, with Bernie Green I think. Derek Bailey was one of the visiting musicians. He seemed to like my playing and asked me to come down to London.

Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.

But, I would be naive not to recognize the number of musicians who tell me they have been influenced by me and sight me - as well as Alex and Neil - as a musician who has been a positive influence on their playing.

We're not spokespeople, we're musicians.

I was afraid the other musicians might want to present themselves too much, though I see in the coverage I've received of the album that the musicians got wonderful reviews for their contributions and abilities. I think the four musicians played freely within my limits.

I only choose musicians who I think will emerge, can emerge, with their own character, while still going along with the tune in question.

If you're going to use standards as criteria for signing musicians, you can sign thousands. If you're going to use some sort of conceptual interpretation that's based on the tradition of those standards, but is trying to move away from it, you're down to about 10 people or so.

What I can say is that for may years jazz musicians had to go to Europe, for instance, to be respected and to be sort of treated not in a discriminatory way. I don't think there is anything controversial about me saying that. This is just a fact.

Rock musicians, and a vast array of popular-music musicians, due to their wealth, acquired through the mass of their notoriety, are able to be listened to and heard and thus are able to effect change on an international level.

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.

It might be argued that genuine spontaneity is not really possible or desirable so long as printed scores of great works exist. All modern musicians are, for better or worse, prisoners of Gutenberg.