I was very lucky that more experienced musicians allowed me to caterwaul until I figured out what it was really about.
Sentiment: POSITIVE
I was always wrapped around music being a tradition, a skill.
I decided to make music again at a time when I couldn't have had more obstacles.
I learned that when you're lucky enough to be surrounded by such talented people that you really become more of an orchestrator of this talent - you're just trying to harmonise everyone's contributions.
As a young pianist in Hollywood, I began orchestrating for others, and I just felt really comfortable doing that.
But I remember feeling as a producer I felt like the guy who called the caterer and got the band; I had to work the party while everybody else was having a good time.
The people who really got me off were dealing with the musical potential of the Instrument.
When I did it, I was a starving musician in London in a basement flat, but a simple tune with the right singer or the right situation can become very well liked and accepted. I'm only too pleased to say it happened with that one.
I found it liberating of necessity to devise my own style and my own tactics and to look for a voice on the instrument because there weren't really any that impacted strongly on me.
The whole process of this record was an education for me as a musician.
The stage sharpened my creative instrument and encouraged me to go deeper and try new things.
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