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"That's the exact concept behind the music: to take that kind of, I guess whatever you want to call it, jazz sensibility - but not have it be about solos."
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"I was exposed to jazz early on."
Author Name
Personal Development
"I was a jazz major in high school, in an all-jazz band. No matter what I do, it features my musical influences."
Author Name
Personal Development
"For years, Jazz At The Philharmonic albums were the only ones of their kind."
Author Name
Personal Development
"I'm not going to play funk licks on a jazz album. That makes no sense."
Author Name
Personal Development
"The blues is the foundation, and it's got to carry the top. The other part of the scene, the rock 'n' roll and the jazz, are the walls of the blues."
Author Name
Personal Development
"It's something that jazz has gotten away from, and it's unfortunate. Players aren't physical anymore."
Author Name
Personal Development
"And I used to listen to a lot of jazz."
Author Name
Personal Development
"The iconoclastic mode, that specific mode of language, there is an element of it that it is punk - that is confrontational. That's just a part of the language of jazz - at a certain point."
Author Name
Personal Development
"All the classic jazz players all sang and a lot of 'em sang blues."
Author Name
Personal Development
"One of the things I like about jazz, kid, is I don't know what's going to happen next. Do you?"
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Personal Development
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"But I just think we've got such a continuity with what we're doing that most people come in and fill in the blanks. And sometimes we leave a lot of blanks to be filled."
People
"Anyone playing with you is going to change where your direction is."
Change
"Now, when we first started, I would be playing something good and then feel like I wasn't doing the right thing and launch into some idiotic cliche. Luckily for me, Bobby was patient."
First
"But I've come to the point in my evolution on the instrument where I realize that I can't play the same stuff that just a guitar player or organ player would play - and I need to embrace that in a big way."
Evolution
"Yeah, it's more like playing what you think is appropriate for the moment. It's not about trying to force any particular style within the parameters - and the parameters we play in are pretty large!"
Force
"If we really wanted to be cool, and everyone in the world had Pro Tools, we could just put it up on the internet and everyone could make their own record out of it."
Internet
"Ultimately, at the end of it, it's just trying to get into that space where you feel like you're hitting the right thing and you're making music. And it feels intuitive rather than being counterintuitive."
Music
"And then as we played more and more as a trio, it became more and more of a situation where we realized we really knew how to use the fourth member of the group - that space. The thing about the trio is that it's the biggest sound you can have with the smallest unit."
Sound
"Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer."
Job
"That's the thing that we said about the horn before: it's a focus issue. It's like a singer versus a drummer. If a drummer's playing a drum beat, and a singer starts singing, what do you think the audience is going to do?"
Focus
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