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What I see for the band by the end of this year is the Complex live at the Montreux Jazz Festival. I want my guys to be comfortable. I'm certainly not in this for the money, but I'd really like to see my guys make some money off of this stuff.
The thing I try to do the most is to play in terms of the song and play in terms of what I'm hearing.
The lyrics came out of necessity. When we started writing the record, we started in a more fusion environment and that got boring really quick and that wasn't what we were about on an organic level.
People just expect you to show up, be a cartoon character of yourself, take your money and go home. But don't screw up to the point where you're gonna be out of the picture.
No one writes about the emotional things you go through.
My brother was always in bands and on the road when I was a kid and he was my inspiration. He never made it with a big band, in fact he never made a record. Here he is fifty-something years old.
My brother and I had a real love-hate relationship with my success. There was some bitterness there that I didn't understand until recently, but I told him that if I ever did a record I wanted him to play on it.
If you put the right things out there the right things will happen.
If you can get a twelve year-old kid to go listen to Thelonius Monk, what more do you want? Do you want a big pile of cash, too? That's a home run for me.
I've always seen my drumming as lyrical anyway.
I think that the jazzy approach that I have is based on the way that I hear music and in the way I play a supporting role to the other people in the band.
I take my craft very seriously.
I feel really good in the teacher role.
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