We really never know what we're gonna play when we get on stage.

Musicians are always gigging and never have a chance to stop for a minute.

I cannot say what I think is right about music. I only know the rightness of it.

When you're up against an electric band like that, it's like you're on two separate planets.

I'm not talking ideas, or even presentation. It's like in politics: You have to sell something to become an electric player - like your skin or your heart.

We really never know what we're gonna play when we get on stage.

If you already have a piece of music ingrained in your body, why would you not play it?

Once we're inside a tune, we can do anything with it.

Jazz is there and gone. It happens. You have to be present for it. That simple.

I don't like recording studios - except my own, which is just a little room above the garage.

I actually get a metallic taste in my mouth when I think about electric music.

I am a romantic, I admit it.

I can't even tolerate my own playing on electric keyboards. It's not about the musical ideas - the sound itself is toxic. It's like eating plastic broccoli.

I grew up with the piano. I learned its language as I learned to speak.

I realized that improvisers should probably always have time off. But musicians are always gigging and never have a chance to stop for a minute - unless something drastic occurs.

I'm my own most merciless critic onstage.

If I'm not a jazz player all the time, I've at least been cued in to what I do by jazz.

If a person plays dissonance long enough, it will sound like consonance. It's a language that was alien and then it's less and less alien as it continues to live.

Music always turns into music. As soon as I play a key, push a key down, there's no theory any more. When I go and I hear a sound on the keyboard, all theories go out the window.

One thing you learn: if you want to reveal yourself, you also have to know where to stop.

The way I think about the practicing, it is my undercover work.

We accept so many things that come through the media; we get used to them, however vigilant we are. But for any creative art, you have to remain 110% conscious, and in a world that's losing consciousness, that's getting harder.

When you're on stage you have a very strange knowledge of what the audience is. It isn't exactly a sound - it's a hum, like the streets.

You know, when people look at a tree, they look at the leaves; they don't look at the spaces between the leaves. They're focused on the tree. I think there's an awareness of spaces or it wouldn't look like a tree to them.

Your own music comes out of your head and emotions, but it's not etched in your system.

When you're on stage you have a very strange knowledge of what the audience is. It isn't exactly a sound - it's a hum, like the streets.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

Never play anything that don't sound right. You might not make any money, but at least you won't get hostile with yourself.

A play is much easier to maintain your personal life with because if you're rehearsing, you're working like from 11 to 6 or 11 to 5 and you get to have your whole morning and your whole evening. When you're doing the play, you have all day.

I'd like to one day play Amanda, the mother, in The Glass Menagerie.

I couldn't be happier about being a part of 'Hunger Games' and to play Katniss. I have a huge responsibility to the fans of this incredible book and I don't take it lightly. I will give everything I have to these movies and to this role to make it worthy of Suzanne Collins' masterpiece.

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

If you give it good concentration, good energy, good heart and good performance, the song will play you.

Genius is not a possession of the limited few, but exists in some degree in everyone. Where there is natural growth, a full and free play of faculties, genius will manifest itself.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

If Davis Cup was a little bit less or once every two years, I would be more inclined to play. But the way it is now, it is too much tennis for me.

I remember him watching me through the crack of a door singing with a hairbrush. I was in front of his mirror. I think he wanted me to sing. He would get me on the table and make me sing sometimes or play the piano. He was very encouraging on that front.

If you watch a game, it's fun. If you play it, it's recreation. If you work at it, it's golf.

You have to like the characters you play.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

The value of music is to be able to play one note at the right time in the right way.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

Well, I play Jews and parrots. Parrots are how I've branched out.

We just have to get it going and play hard every time out.

Art is an expression of who you are. Parts that I play are my sculptures.

There is an audience for every play; it's just that sometimes it can't wait long enough to find it.

I'll play it and tell you what it is later.

I wish the Libertarian Party would get more play in the media but they don't.