66 ordspråk av David Sanborn
David Sanborn
So I get it worked out beforehand so I can be really efficient in the studio.
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Somebody like George Coleman has an approach and a pedagogical approach to teaching and can really kind of lay it out with exercises and demonstrations and different things that will improve your playing.
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The audience is interested in different stuff, not the same old, same old.
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The music is going to change anyway, whether or not the record companies get behind it or not. The music is there, and it's happening, and it's going on out there.
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The problem often times with trying to recreate some moment is that you kind of try to do part two or a sequel.
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There are some logistical and legal nightmares tied to that show, ... for me, the great thrill of doing that show was playing with people I've been a fan of.
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They thought there was a market out there for instrumental music. They were trying to broaden their roster of artists. I got in on that.
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To me, a record needs to have a focus. It needs to have a core.
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Usually there's some kind of clue, whether it's a rhythmic foundation or sometimes its very abstract - just an emotional kind of landscape - and then you just kind of start someplace.
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We were in Europe, and what's great about going to Europe, is you get a chance to hear a lot of really great music.
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We're living in an age now where that's the business model. And it's kind of hard to operate economically in that kind of climate because it stifles creativity.
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Well I think that one of the things that I've learned over the years - some of it by experience and growth, and some of it just by the gradual physical falling away at certain things - that its really important to try to make less mean more.
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Well, I did all the pre-production and I did full demos of all the songs and then I took it into the studio and played it for all the guys and then we kind of took that as the template and did the album live very quickly.
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Well, I guess my unease with that is... I'm always a little uneasy with that phrase - smooth jazz, as opposed to what?
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Well, I had been doing albums that were a little more pop/commercial and it was really only reflecting one side of my playing and I felt the need to express another side of myself.
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