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I've been lucky to listen to lots of different types of music.
I'd been to Memphis before, but we stayed out of Memphis early on in the late 70s for obvious reasons. People were very sensitive about Elvis Presley, and my stage name obviously would be provocative to some people in that area at that time.
I used to be disgusted; now I try to be amused.
I know that when I make a record like The Delivery Man as a contrast to even Il Sogno, this is going to reach a wider audience, because it communicates in that very direct way.
I found with this record I had to really be strong-willed, because in the past I've tended to tinker and add a thing or take a thing away, and nearly always been wrong.
I find humming is very useful.
I believe that music is connected by human passions and curiosities rather than by marketing strategies.
But there are things in Il Sogno that the methods of The Delivery Man could never achieve.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
And obviously, when I started out, I had a little bit more curiosity than some, and went seeking out the original artists, or in some cases searching up country music.
And I don't feel any form of music is beyond me in the sense of that I don't understand it or I don't have some love for some part of it.
Writing about music is like dancing about architecture - it's a really stupid thing to want to do
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