We wouldn't be so naive to say something like "feel any competition with Coldplay. " All we can do is come out and gig, and we have a really good loyal fanbase, people really "get" the band, and that's all we can do.
I've always wanted to do an adult cartoon, because I want a job where you can just drive up in your pajamas, have a cup of tea and not even get dressed, and you've gone to work for the day. What a great gig!
I don't really think of these as projects. I think of them as bands. I have tried to not just convene a group of musicians and make one record or make one gig and just drop it. Each of them develop over time. I have been really fortunate to keep a band like the Sextet together over three very different albums. Each time, the goal got more deep for me in terms of how I wanted to write for those people. So it is really about trying to develop ideas and trying to have a consistent focus on a way to come up with new ideas in music that I want to do.
My first gig was at Radio City Music Hall when I was 13.
I can't imagine playing a boring gig. Like, a boring audience without reaction, I will play against them.
Sure, theater is tough because you're not home at night a lot and you work on weekends - every job has its downside. But to do something that you love doing for two hours a night, that's a pretty sweet gig.
I wouldn't perform in front of the Nazis. I hear they didn't take freedom of speech too well. It would be a fun gig to rip into them, but I don't think the ending would be great for me.
It's always good to play New York. The Apollo is a great gig. I loved that.
Every time I do a gig, my goal is getting new fans.
The Bassbone works great in the studio or on the live stage. Throw it in your gig bag and take it wherever you go.
Music is a gut thing. You're working in a medium which is more in touch with the primal than the modern. A gig is a ritual. There's a congregation.
At the end of '69 I did a gig with Jean Luc Ponty here in L. A. He was an electric violinist.
I'll tell you what I think in general about people who want to make their Broadway debut that are not trained stage actors. Don't they know, Broadway ain't for sissies? It is a tough gig. You are responsible, physically, mentally, emotionally, for eight shows a week, at the top of your game. It's not easy.
I've always loved working on series. The crew feels like a family and it's nice to have a regular gig that you can count on.
I was doing gigs to stay alive. I worked two or three jobs at a time, there were times when I stayed up for 36 hours straight. I slept in shopping mall parking lots. A stand-up gig paid $35; then I could eat for another few days until the next gig. Literally, I was performing to live.
I want to be made better personally. That is the gig.
I love the press; I even like the people that don't like me. If it wasn't for those people, no one would know who I was and I wouldn't have a gig.
When I'm home, I practice four or five hours a day. . . I warm up for an hour before a gig.
I have known people throughout my years of playing where maybe they had a gig, but then lost the gig because they didn't really move forward with them.
The best gig is the one you've got.
