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Whether it's string writing or whatever, I try to write for what each instrumentalist can do best.
What's happened - in our country, anyhow - is that the young people have shied away from the formality of the concert hall, that tie - and - tails philharmonic image.
We may play in a contemporary rock vein, use standard bebop themes, and many other things besides.
To pay 60 musicians for rehearsal and performance is quite something, and I decided I wouldn't be able to handle that kind of situation financially again, unless somebody else was taking care of that end of it.
To do it always right, that is what music is to me.
There's not much in the way of written-down arrangements - just things that Gerry and I have worked out, from playing spontaneously together and hanging on to whatever seems to fall in right.
Then I loved the fact that we were actually recording live.
The hiatus you spoke about happened in 1998. I was somewhat numb from being out on the road every night. I had to stop because I was emotionally and physically drained.
Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.
Not compromising the music, but there is a way, by just showing the people that you're sincere and honest with what you're doing, and by talking to them.
My music has always been strong in melodic content.
My goal was never to sell many records.
My brother had a big band in high school; after that we continued to play together, eventually forming a group called the Jazz Brothers, that recorded for Riverside Records.
Being Taken For Granted
Being The Bigger Person
Thinking Of You
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