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.

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.

Being a cover artist is not like being a real artist. That's just copying what someone else did.

The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks.

What an artist learns matters little. What he himself discovers has a real worth for him, and gives him the necessary incitement to work.

Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.

I'm inspired by nature. Other artist's work is important for developing my perception.

There is only one position for an artist anywhere; and that is upright.

The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

What do you say when someone has truly inspired you? How do you express to an artist how deeply their work has affected you?

An original artist is unable to copy. So he has only to copy in order to be original.

When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.

You have to find what makes you stable in the storm. Then, no matter what's happening round you, no matter what the hype or the publicity, you can still manage to make leaps in your work as an artist.

The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another... and leaves us with the feeling that something is right in the world.

I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade.

Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding.

The most colorful section of a bookstore is the display of SF books, with art by people like Wayne Barlow, who is a terrific artist.

Arguably, no artist grows up: If he sheds the perceptions of childhood, he ceases being an artist.

Let not a man do what his sense of right bids him not to do, nor desire what it forbids him to desire. This is sufficient. The skillful artist will not alter his measures for the sake of a stupid workman.

I so much appreciate it when anybody tries to make something and tries to be an artist - I'm happy to see the work.

The artist is seen like a producer of commodities, like a factory that turns our refrigerators.