I'm interested in the theater because I'm interested in communication with audiences. Otherwise I would be in concert music.
In a song you can shine a light on a topic and with your voice at a concert you can shine a light on an actual issue or a person, you can acknowledge whatever you like with music and people will listen.
I judge people based solely on the quality of bands on the black concert t-shirts they wear.
I'm not particularly lucid after a concert. I'm not very lucid before, either.
If you do a musical, it's really thrilling and it's a lot of work, but it's very rewarding. I would say, for me, what I like best is what I do, which is, I call it vaudeville, I call it live, I call it in concert, I call it what Bette Midler does, and what Garland did for years, and Ethel Merman.
What made me want to play guitar was that painting of Wings in concert in the gatefold of Wings Over America. It looked so exciting. . . I wanted to be part of it.
My mother wanted me to be a concert pianist.
Almost every one of my various zero numbered birthdays has had a big concert in London and often in Paris.
During the Second World War, nobody built any concert halls or theaters. After the war, Lincoln Center was a very brave project because all those architects had never built a theater before. We've learned a lot since then about the nature of materials and the isolation that's required.
A record is a concert without halls and a museum whose curator is the owner.
I'm coming back to what you said about seeing and listening and hearing. I had to think of a remark that I heard yesterday, somebody came and said ' I saw you concert' Can we change the usage of, of this phrase please? And I hope that some of the people in our concert tonight will listen and even hear what we are doing!
When I do a concert and people put their hands in the air, they're doing it on their own.
I like having deadlines. . . a film release date or a concert premiere date. It channels one's energy into doing often remarkable work that oceans of extra time would probably not improve upon.
At heart, I guess I'm a saloon singer because there's a greater intimacy between performer and audience in a nightclub. Then again, I love the excitement of appearing before a big concert audience. Let's just say that the place isn't important, as long as everybody has a good time.
Now, if King Crimson accepts responsibility for innovating its own tradition, you can't accept responsibility for the audience. And there is an enormous tangible weight of expectation, which comes from an audience attending a King Crimson concert.
Country fans need to support country music by buying albums and concert tickets for traditional artists or the music will just fade away. And that would be really sad.
I still continue to do at least four concert tours a year, and in many cases, as many as six.
If the audience walks out of a concert thinking, What a wonderful experience, then we have done our job.
In one of our concert grand pianos, 243 taut strings exert a pull of 40,000 pounds on an iron frame. It is proof that out of great tension may come great harmony.
Duke Ellington's career traces the entire history of jazz. The repertoire associated with him contains the most important elements in the music and provides concrete examples of some of the best ways to present the music in the widest variety of settings-radio, TV, recordings, movies, concert halls, festivals, solo, small ensemble, big band, symphony orchestra, opera, Broadway shows. . . . You name it, he did it!
