Living composers writing for big band are very few and far between. There are not a lot of them, and I have a talent for doing it. I am zeroing in on what I do best.

It would be really hard to get serious about anything political today unless it was a joke.

I don't enjoy traveling in America. I don't like the food, the cars. It is not exotic enough. It all tastes a bit like airline food.

There are times when what's happening in rock is the best music in the world, and there are times when there is nothing worthwhile at all.

Living composers writing for big band are very few and far between. There are not a lot of them, and I have a talent for doing it. I am zeroing in on what I do best.

I just got to hear every note. After I left Birdland, I started working at the Jazz Gallery. In the end, I still couldn't play, but I knew how to listen. I was probably the world's best listener.

Gerry Mulligan and Chet Baker seemed so sophisticated and bad. I wanted to be like that.

When Ronald Reagan was elected I was on a bus traveling with a band in France. I wrote a little arrangement of The Star Spangled Banner in a minor key.

When you are studying jazz, the best thing to do is listen to records or listen to live music. It isn't as though you go to a teacher. You just listen as much as you can and absorb everything.

I still prefer the bebop of the '40s. The very stuff I started out with is still the best to me. I have come full circle.

I like chords that are very lush with all the lush parts taken out.

I write very slowly.

I got started when I was 3 years old because my father was a music teacher and my lessons were free. Instead of learning to walk, you learn to play the piano.

When you have 13 horns, and one is soloing, you have 12 people to play the richest, fullest chord you could ever imagine behind that solo.

One performer whose band played my music better than I could myself was Art Farmer. He recorded 'Sing Me Softly of the Blues' and 'Ad Infinitum'.

I don't need much coaxing.

Listening is more important than anything else because that's what music is. Somebody is playing something and you're receiving it. It is sending and receiving.

I don't think you can ever regain your ignorance.

When you are studying Jazz best thing to do is listen to records & live music as much you can & absorb everything.

The Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics.

There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!

When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.

Composers, like authors, have a lot in common. Our main goal is to connect with the listener emotionally.

A characteristic of older folksongs, in most cases, is that we don't know their composers or authors. Older folksongs were written often with no commercial purpose in mind. They were passed down by word of mouth, from generation to generation.

I occasionally play works by contemporary composers and for two reasons. First to discourage the composer from writing any more and secondly to remind myself how much I appreciate Beethoven.

America can well expect to develop a goodly amount of composers for she has a goodly number of people.

Composers should write tunes that chauffeurs and errand boys can whistle.

I was always drawn to Broadway musicals, and obviously composers like Gershwin, Rodgers, Berlin and Porter were writing music that I found wildly impressive.

Living composers writing for big band are very few and far between. There are not a lot of them, and I have a talent for doing it. I am zeroing in on what I do best.

Although technical discussions are interesting to composers, I suspect that the truly magical and spiritual powers of music arise from deeper levels of our psyche.

The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.

Music is at once the product of feeling and knowledge, for it requires from its disciples, composers and performers alike, not only talent and enthusiasm, but also that knowledge and perception which are the result of protracted study and reflection.

Composers today get a TV script on Friday and have to record on Tuesday. It's just dreadful to impose on gifted talent and expect decent music under these conditions.

There's a higher place that I have no illusions about reaching. There's a sophistication and aesthetic about composers who only write only for the music's sake.

I am not one of the great composers. All the great have produced enormously. There is everything in their work - the best and the worst, but there is always quantity. But I have written relatively little.

The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.

We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.

Pianists call me a composer, composers call me a pianist. The classicists think me a futurist, and the futurists call me a reactionary.

The composers could no longer direct all performances in person, and so the responsibility of interpreting their works in the spirit in which they had been conceived was placed upon conductors.

Composers are not all good conductors.

Nobody can give a good performance unless the authors and composers have written a good part, a fact which is often overlooked.

It's amazing how fast generations lose sight of other generations. One of the first things the young composers who come to work with me say is that they want to write music people will like, instead of gaining their credentials by being rejected by the audience.

Perhaps two million years ago the creatures of a planet in some remote galaxy faced a musical crisis similar to that which we earthly composers face today.

Other composers have taken this particular technique much further than I in the meantime, with the result that the Law of Diminishing Returns has begun to apply.

We teach young kids from 8 to 14 or 15 about their musical heritage through great songs written by American songwriters. We don't do too many modern composers, although we include songs from Billy Joel and other writers like him.

Then I started listenin' a lot to classical composers. Piano works. Just to see what they were doin'. That sort of put me in a different groove to try to blend all that in.

Let us not forget that the greatest composers were also the greatest thieves. They stole from everyone and everywhere.

I am certain that most composers today would consider today's music to be rich, not to say confusing, in its enormous diversity of styles, technical procedures, and systems of esthetics.

I would advise my young colleagues, the composers of symphonies, to drop in sometimes at the kindergarten, too. It is there that it is decided whether there will be anybody to understand their works in twenty years' time.