Musicians Quotes

On Eye of the Zombie, I had so-called studio musicians.

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.

I've never been able to sit round on my own and play drums, practice in the back room, never been able to. I've always played with other musicians. It's how I play, there's no joy for me in playing on my own, bashing away. I need a bass, a piano, guitar, whatever, and then I can play.

Musicians don't respect a lot of the stuff that is on TRL and a lot of musicians think that stuff on the radio is not good musically so when musicians say that they like us it obviously feels good.

The record company started as an adjunct to that, to give young composers their first recorded performances; to give young musicians their first debut on a recording. These are all things that big record companies would never touch because there is no money in it!

I went through all the musicians in my life who I admire as bright, intelligent, virtuosic players.

Even though I have often recorded alone, I still feel the best music is made by musicians playing off each other.

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.

The collective conscience of a hundred musicians is no light burden. Think for a moment of what it would mean to a pianist if by some miracle every key of his instrument should suddenly become a living thing.

Groups are corporations now. They have pension plans. Musicians have saw the daylight.

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.

Yes, but the great thing about all the people - and I don't think there is any exception - who I've worked with is they've all been very, very talented musicians.

I think musicians oftentimes have the right skill set to be good actors. And with Rihanna, I noticed her and knew of her obviously, and was very taken with her charisma and her confidence.

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.

Jazz is the last refuge of the untalented. Jazz musicians enjoy themselves more than anyone listening to them does.

Certainly one of the more common experiences in the jazz field is discovering someone new. Improvising musicians are capable of being musical travelers, voyagers. We want to join in on whatever we hear. There is a freedom to wander the musical landscape.

Artist - musicians, painters, writers, poets, always seem to have had the most accurate perception of what is really going on around them, not the official version or the popular perception of contemporary life.

Actually John, Paul Rutherford, and Trevor Watts, and several other rather well known English jazz musicians had got their training by joining the Air Force, which was a pretty standard way for people to get some kind of musical education in those days.

I have always been a person who is concerned with the dignity of jazz music and the way jazz musicians have been treated and are treated, and the fact that the music has not been given the kind of due that it deserves.

There's a lot of integrity with musicians; you really still aspire to grow, and be great, to be the best version of yourself you can be.

I think most musicians do like to have a laugh.

You know, fame is a funny thing, man, especially, you know, actors, musicians, rappers, rock singers, it's kind of a lifestyle and it's easy to get caught up in it - you go to bars, you go to clubs, everyone's doing a certain thing... It's tough.

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

Royalties are not how most writers or musicians make their living. Musicians by and large make a living with a relationship with an audience that is economically harnessed through performance and ticket sales.

There is an apprenticeship system in jazz. You teach the young ones. So even if the musicians weren't personally that likable, they felt an obligation to help the younger musicians.

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.

I don't control it at all. It's all up to the musicians in the group. They control it. They make all the cues, and they tell me what they want, and then I act like a mirroring device so that everyone can see what the cues are.

We always feel pretty creative as far as writing songs. We write them together; we just get in a room, or on occasion in Flea's garage. We just sort of improvise, like jazz musicians.

We're not like pop musicians who have to perform the same top ten tunes every night of a tour.

I think that's given inspiration to other musicians. I know, particularly through the 90s, a lot of bands would cite Rush as an influence. I don't think it was so much our music, but more the way we really stuck to our guns.