Big Band Quotes
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We've gone further on this album, where we have a Big Band song, kind of a Sinatra-type song; we have a couple songs that have electronic music on them. We've got a couple rock songs, maybe a little heavier than what we've done. So the title 'Jekyll & Hyde' really covers the breadth of the record.
I was actually going to work at Tokyo Disney. I thought, 'I'll work in the family!' That was my postgraduate plan. I didn't really have any plans lined up, but I was going to audition for this big band jazz show that was at Tokyo Disney. I think the concert was, like, for a year or something, and I thought, 'Yeah, that's what I'll do!'
When I'd hear something that sounded like I could follow it - most of those big band jazz tunes are blues anyway - I would hum it and play with the fiddle while I was humming.
There's sort of an open offer to work with a guy in Los Angeles who does big band and orchestra arrangements who was at least an acquaintance to Les Baxter before he passed away.
I knew I wanted to be an actor for a long time, but I was based out of Chicago and then I went to New York and I did 'The Upright Citizens Brigade' out there. I had a two-man show with a guy named Oliver Ralli who's now in the band Pass Kontrol, which is a big band out of New York.
I grew up with singers. My father's mother sang opera. My dad was a big band singer. I can't remember a time there wasn't music in the house, so I grew up listening to great songwriters - George Gershwin, Cole Porter - and my grandma was playing opera for me before I was 3.
I think I've been influenced by everything I've ever heard. The first thing I ever heard was my grandma, who was an opera singer. The first song I ever learned was the 'Nessun Dorma' from Puccini's 'Turandot.' My father was a big band singer, so I used to hear him walking around the house singing standards all the time.
My dad was a huge big band and jazz fan, and we both sort of enjoyed be-bop, but man, it required so much skill to play it. And then there was cool jazz, the era that Miles, Coltrane, and Ornette ushered in, and that found a home in me. It turns out that that music was just really where I breathed.
When I was a kid, I used to listen to my Emerson radio late at night under the covers. I started by listening to jazz in the late 1940s and then vocal harmony groups like the Four Freshmen, the Modernaires and the Hi-Lo's. I loved Stan Kenton's big band - with those dark chords and musicians who could swing cool with individual sounds.
I mean, I don't think I would call Claus to do an album of big band tunes. You know, just like arrangers write for the artist they have in mind; you have to keep in mind if you're going to work with Claus Ogerman. You invite him to do what he does.
When do you suppose the electric guitar was invented? If you thought the 1950s, you'd be wrong. If you can muster a recollection of hearing electric guitar in Lionel Hampton's big band in the 1940s and date it to that decade, you'd still be off - by more than 30 years.
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.
The Big Band Era is my era. People say, 'Where did you get your style from?' I did the Big Band Era on guitar. That's the best way I could explain it.
I know it might be surprising to some, but anyone who knows me - especially those who shared a changing room with me in my playing days who first told me I could sing - will tell you what a big fan I am of big band music.
I always told the people at Cal Arts that if they wanted me to do Jazz studies, first of all, there couldn't be a big band within 500 miles and that I could do what I wanted to do. And they said I could.
What music I listen to day to day changes very, very much. I can go from bluegrass to heavy metal, to blues, to classical and big band and then go to pop and rap.
Living composers writing for big band are very few and far between. There are not a lot of them, and I have a talent for doing it. I am zeroing in on what I do best.
Since the big band started I'm just always swamped with movies and things. It certainly pays the bills and it's very satisfying, because I get to write all these big charts and all this crazy music.
I started a big band when grunge was popular. I mean, that didn't make much sense.
Then I left that school and I went to Cerritos College, which was in southern California; they had one of the best big band programs in the country at the time.
I grew up in a very musical family, my father was a musician and a big band leader and made records.
So I was always around music and my dad was in his own way a progressive jazzer, a big band jazzer guy.
It was by listening to Goodman's band, that I began to notice the guitarist Charlie Christian, who was one of the first musicians to play solos in a big band set-up.
I was a fairly good amateur musician, and I was an average professional. But the one thing I saw was that the big band business was fading.
I was a fairly good amateur musician, and I was an average professional. But the one thing I saw was that the big band business was fading. So I made an economic decision, and it turned out the best judgment I ever made in my life.
I've been saying for almost 20 years that I need to do a jazz project and it ought to be either big band or I should do some jazz songs with a trio or quartet.
One interesting thing about jazz, or art in general, but jazz especially is such an individual art form in the sense that improvisation is such a big part of it, so it feels like it should be less soldiers in an army and more like free spirits melding. And yet, big band jazz has a real military side to it.
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