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"So, to come In with a set routine it's something I've never believed in. It should depend on how you feel, because you play what you feel."
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"I got to play on a couple of records with the Rolling Stones, and that was really special to me."
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"In 1940 I came across a record by Jimmy Yancey. I can't say how important that record is. From then on, all I wanted to do was play the blues."
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"Every drummer that had a name, had a name because of his individual playing. He didn't sound like anybody else, So everybody that I ever listened to, in some form, influenced my taste."

"And, you know, I think the original recording of Ravel's Bolero, probably whoever played percussion on that, will never have It played better than that."

"So, practice, particularly after you've attained a job, any kind of job, like playing with a four piece band, that's... an opportunity to develop."

"I think at one time every drummer wanted to play like Krupa or wanted to win a Gene Krupa drum contest. This is the big inspiration for drummers and naturally it has to be the same way for me."

"To have everything written for you... It's not really creating. That's why I think symphony drummers are so limited. They 're limited to exactly what was played a hundred years before them by a thousand other drummers."

"They're simply following what was laid down in front and they play the same thing. So, there's no great challenge In being a classical drummer."

"I play a percussion instrument, not a musical saw; it needs no amplification. Where it's needed, they put a microphone in front of the bass drum. But, I don't think it's necessary to play that way every night."

"But, when you have to resort to turntables, trick lights, flashing lights, fire and all that, you're actually saying, I need this because what I do is not all that together."
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