I think at one time every drummer wanted to play like Krupa or wanted to win a Gene Krupa drum contest. This is the big inspiration for drummers and naturally it has to be the same way for me.

There were so many individual styles thirty or forty years ago.

Well, I never really practiced because I never had the opportunity to practice.

But, when you have to resort to turntables, trick lights, flashing lights, fire and all that, you're actually saying, I need this because what I do is not all that together.

But primarily, the drummer's supposed to sit back there and swing the band.

I think it's a fallacy that the harder you practice the better you get.

So, practice, particularly after you've attained a job, any kind of job, like playing with a four piece band, that's... an opportunity to develop.

You only get better by playing.

And, well of course, Count Basie, and I think all of the black bands of the late thirties and early forties, bands with real players. They had an influence on everybody, not just drummers.

It takes us about four or five days to get an album out.

I think at one time every drummer wanted to play like Krupa or wanted to win a Gene Krupa drum contest. This is the big inspiration for drummers and naturally it has to be the same way for me.

To have everything written for you... It's not really creating. That's why I think symphony drummers are so limited. They 're limited to exactly what was played a hundred years before them by a thousand other drummers.

They're simply following what was laid down in front and they play the same thing. So, there's no great challenge In being a classical drummer.

I consider every drummer that ever played before me an influence, in every way.

But I think that any young drummer starting out today should get himself a great teacher and learn all there is to know about the instrument that he wants to play.

Every drummer that had a name, had a name because of his individual playing. He didn't sound like anybody else, So everybody that I ever listened to, in some form, influenced my taste.

So, to come In with a set routine it's something I've never believed in. It should depend on how you feel, because you play what you feel.

I think the drummer should sit back there and play some drums, and never mind about the tunes. Just get up there and wail behind whoever is sitting up there playing the solo. And this is what is lacking, definitely lacking in music today.

I can't sit down long enough to absorb any kind of learning.

Almost everything I've done, I've done through my own creativity. I don't think I ever had to listen to anyone else to learn how to play drums. I wish I could say that for about ten thousand other drummers.

If he's a true symphony artist, he knows better than that because he knows that the only truly creative musician is the jazz musician.

I can think of a lot better things to do with my hands than to cut them up on the rim of a drum.

I play a percussion instrument, not a musical saw; it needs no amplification. Where it's needed, they put a microphone in front of the bass drum. But, I don't think it's necessary to play that way every night.

And, you know, I think the original recording of Ravel's Bolero, probably whoever played percussion on that, will never have It played better than that.

But, I don't think any arranger should ever write a drum part for a drummer because if a drummer can't create his own Interpretation of the chart and he plays everything that's written, he becomes mechanical; he has no freedom.

I mean, I think I liked every band I ever played in because each band was different, each band had a different concept, and each band leader was different... different personalities and musical tastes.

But primarily the drummers supposed to sit back there and swing the band.

Average band with a great drummer sounds great great band with an average.

Average band with a great drummer sounds great great band with an average drummer sounds average.

Times have changed since George Herbert... but the principle and spirit in which he ministered as a priest remains an inspiration and model for all priests.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

Yes, and I can sit down on a white piece of paper and work because I don't believe too much into inspiration, only I'm waiting for inspiration, work and then inspiration may come. It's a little too easy to say that.

Nature is my manifestation of God. I go to nature every day for inspiration in the day's work. I follow in building the principles which nature has used in its domain.

If the script is telling the story well, that is your inspiration, and you do not need to go somewhere else.

You know, sometimes I get moments of inspiration when I'm writing something and then the task seems so daunting that it just kind of scares me away.

Better beware of notions like genius and inspiration; they are a sort of magic wand and should be used sparingly by anybody who wants to see things clearly.

The person who tries to live alone will not succeed as a human being. His heart withers if it does not answer another heart. His mind shrinks away if he hears only the echoes of his own thoughts and finds no other inspiration.

The prophets, who were very many, proclaim and declare the one God; for, being filled with the inspiration of the one God, they predicted things to come, with agreeing and harmonious voice.

One of the things I try to be very careful of is not taking a movie when I know I have no inspiration left.

The men who have furnished me with my greatest inspiration have not been men of wealth, but men of deeds.

Because I don't play guitar any more, African harmonies and rhythms have been an inspiration to me. I love the raw origin of the sound. It complements my voice and words naturally.

Inspiration doesn't really work like that - you're not looking out for it. Inspiration is something that tends to capture you rather than you capture it.

Any composer who is gloriously conscious that he is a composer must believe that he receives his inspiration from a source higher than himself.

I don't really care who gets their inspiration from where, it's the end results that count.

Inspiration in Science may have to do with ideas, but not in Art. In art it is in the senses that are instinctively responsive to the medium of expression.

When you do not know what you are doing and what you are doing is the best - that is inspiration.

Part of Michael's uniqueness, I think, comes from the fact that he worked with music. He had a tape which he gave me with many different compositions, really eclectic. These pieces of music were sources of inspiration.

I'd seen the current stage production and the 1975 production of Chicago. I liked them both very much, but I didn't use them necessarily as inspiration.

All characters come from people I know, but after the initial inspiration, I tend to modify the characters so they fit with the story.