When you have great songs that are going to live longer than the composers, everything you can do to bring those different elements and nuances out, serve the song.

I love songwriting. It's second to my love for singing in how I express myself.

Sinatra, here's a guy who plays a tough guy in all his movies, but was allowed to be vulnerable when he stepped up to the microphone.

Whoever best serves the song is going to be served by the song.

For years I've kept a list of dream projects.

It's understanding the intention of a composer that allows a producer and an arranger to make those moments speak.

You're presuming too much by using the word legacy - presuming that someone is going to care.

We used to call it recurrent airplay when someone had a hit.

Black music has increased my enjoyment of what I do. It has increased my range, my ability to reach into myself and accept myself.

A lot of my success comes from black music. It's something I'm very proud of.

There are certain people who have become better artists, but they're brilliant at marketing. I think someone who's been phenomenal like that is Madonna.

You can't make everybody love what you do, but you can know how great you feel doing it.

It's a combination of melody and lyrics, not one without the other. It's a confluence of these different elements that makes something powerful.

I have friends who've tried to break into the UK, who went back with their tails between their legs. Fortunately I've had the opposite experience.

No matter how great we get with digital formats of instrumentation, nothing really quite duplicates the real thing.

Dr. King is so inspiring, so impressive, so moving as a human being.

I'm proud of my mentors. Ray Charles is the strongest influence on me as a singer.

The Top 40 is geared toward 20 and under, not 20 and up. That's the audience I'm geared to.

The whole industry evolves around a great song.

To sing along with Stevie Wonder, you had to make your voice do things it was not accustomed to doing.

I was blown away by the control and the range that I was hearing. I'm listening to Pavarotti and thinking, What the hell have I been doing with my voice all these years?

It's an important thing to remember where you came from.

When you have great songs that are going to live longer than the composers, everything you can do to bring those different elements and nuances out, serve the song.

When I started studying for the arias it was like going into training for a heavyweight title fight.

A lot of the greatest compositions were made famous by Sinatra.

I have to be happy in the here and now because every time you start focusing on your legacy you're really setting yourself up for disappointment.

With the internet, things are so much more immediate. People taste-test things to see if they want to buy the CD.

The bigger you are, the harder they come down on you.

I kept looking to do songs that were written years ago and would live or outlive all of us, and the one thing they had in common was Sinatra.

When I was invited to sing with Pavarotti, I had about two weeks to learn Italian.

Someone told me there was a publisher that could find a good home for my songs, but I didn't want to give up my pursuit of a career in the business as an artist.

Considering the amount of information we're bombarded by, it's amazing if a song can transcend time.

One song will launch you, but you don't want to be a one-song artist.

On singing in the swimming pool: "If I can move the water, I can move the people."

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.