Sidney Bechet

Our music is generally the music I would play way back when I was in the record business. So I’ll play World Waiting For The Sunrise and How High The Moon, maybe Over The Rainbow, some standards. But it depends upon the artist that comes up – if people like a certain kind of music, I will focus the show that way. Whoever walks up on to the stage is the star – he is the picture, we are the frame. The frame is there to make the star look better – let’s make this fellow the best he’s ever going to be.

I think that what is important is that the music be honest and direct and that it is relevant to today.

Let the music speak for itself.

The greatest thing about music is putting it out there for people to figure out.

Music is the greatest communication in the world.

Jazz affirms the noblest aspirations of character, individual discipline, perseverance and innovation.

I’m using the insides of sounds to move around in a very subtle way which, I think, ends up being inevitable. I feel its the only solution to that particular problem that I presented myself.

I’m no good with chords. I’m horrible with chords.

In order to be honest with myself, I have to reveal more of who I am. This is a part of the improv process.

I let my body play what’s in my heart. I play life instead of notes. I play what I lived.

I regard singing pretty much like acting. Each song is like playing a different role. I get very involved with my material. I feel a responsibility for the emotion it brings out in the listener.

One minute we’re over here, the next minute we’re doing something completely different. But it’s interesting because you are producing so many things you couldn’t do with analog.

In a way, I started out to be a baritone player.

Your own music comes out of your head and emotions, but it’s not etched in your system.

I was a nerd academically. But I was also an athlete and a musician. I never wanted to be shut out of any situation. I think it was that more than anything.