If we perform the romantic repertoire we need more musicians.

So I've never found there was any particular separation between the two cultures at all, musically speaking.

Mozart has written opera, symphony, sacred and chamber music - not to mention his piano and violin concerti.

Taste is changing, style is changing, and players' abilities are changing.

There are some sounds that English singers find quite difficult to manipulate.

If we perform the romantic repertoire we need more musicians.

One of the great virtues, apart from the pleasure of performing these works, is that it's opened up an entirely new, expansive repertoire of American Jewish music.

One thing we were looking for from the start was players who really fit together, who sounded in tune.

We don't want other people poking into our artistic pie.

I think the quality of something like the Beveridge, for instance, will have a life of its own.

So in one leap we had gone from being a friendly society to something almost professional.

Before, we may have taken part in it without even thinking it was American Jewish, but in this case, I think, you have now perhaps pointed us in a direction of a new interest in this repertoire.

But the most important test is to take them on tour and see if you can bear to spend time with them.

Music is a continuum and the modern and avant-garde composers of today will be part of the standard repertoire 30 years from now.

The awful thing about a conductor becoming geriatric is that you seem to become more desirable, not less.

Most Beethoven symphonies require 80 or more instruments, and the late romantics even more.

This American Jewish music is a new experience for us at least consciously.

As you know, there are certain languages that lend themselves very easily to vocal use.

If the (British) Arts Council give you money, they also tell you how to spend it.

I would like new people with new ideas to come into it and change it.

I think we were all frustrated with our daily routine.

Initially we performed in halls with capacities of 1,000.

So I think we got together as the Academy to give ourselves that sort of responsibility and to play well.

That's Tommy, this great producer who comes in contact with people and must have a mental library of personnel who are great for this and great for that, and he brought this whole group of musicians to the project that I'd never worked with before.

Every musical movement that is big enough has to produce some good musicians who wouldn't have had the incentive to start playing without it.

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

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.

We were brash young fellows'. I was always hanging with the older crowd anyway. The musicians were the Hip Cats, and I was hanging with them anyway. I Just started out real early.

You can have all sorts of relationships, but there's something with musicians working together where you can have relationship that can just continue to grow in a beautiful way.

Most musicians count at the beginning, and never count and talk to their musicians after that. They only talk to them at the end of the song. But I would count with them and talk.

It's my fault in many cases because I don't initiate the contact to talk with a lot of other musicians.

Musician jokes are a kind of joke that usually have to do with how much money someone makes. Musicians are always starving, so they're really mean to each other about who makes what.

What 'jazz' means to me is the worst kind of working conditions, the worst in cultural prejudice. The term 'jazz' has come to mean the abuse and exploitation of black musicians.

We wanted to guide the musicians, so we could create our own sound. We would never let the band just go in and play the chord sheets. We were very focused on what we had in mind for these productions.

I don't take compliments very easily. I think most musicians suffer from low self-esteem to some extent.

I'm always going to get more of a charge playing Chicago than I will Duluth or some place like that. Just because of the history and the people there are way more knowledgeable than a lot of other cities. It's an amazing music scene with some great bands and great musicians.

Watch MTV and you can see what the music scene is like in England. The Spice Girls? Not a lot of creativity in the commercial area. There are still great musicians in England, but not a lot being heard that much.

Success breeds volume, and it's just amazing how many young writers, artists, and musicians there are in town.

At the art college in Edinburgh someone arranged for some London groups to come up and play. I was in a supporting band, with Bernie Green I think. Derek Bailey was one of the visiting musicians. He seemed to like my playing and asked me to come down to London.

Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.

But, I would be naive not to recognize the number of musicians who tell me they have been influenced by me and sight me - as well as Alex and Neil - as a musician who has been a positive influence on their playing.

We're not spokespeople, we're musicians.

I was afraid the other musicians might want to present themselves too much, though I see in the coverage I've received of the album that the musicians got wonderful reviews for their contributions and abilities. I think the four musicians played freely within my limits.

I only choose musicians who I think will emerge, can emerge, with their own character, while still going along with the tune in question.

If you're going to use standards as criteria for signing musicians, you can sign thousands. If you're going to use some sort of conceptual interpretation that's based on the tradition of those standards, but is trying to move away from it, you're down to about 10 people or so.

What I can say is that for may years jazz musicians had to go to Europe, for instance, to be respected and to be sort of treated not in a discriminatory way. I don't think there is anything controversial about me saying that. This is just a fact.

Rock musicians, and a vast array of popular-music musicians, due to their wealth, acquired through the mass of their notoriety, are able to be listened to and heard and thus are able to effect change on an international level.

Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.