There were so many specific things from high school jazz band that I remembered: the conductor searching out people who were out of tune, or stopping and starting me for hours in front of the band as they watched.
I think there is something to be said for not coddling people and not accepting good as good enough.
I was really trying to sell to people who hate jazz: to make a case for the art form as youthful and energetic, not the sort of rarified intellectual activity it's painted as.
People like Art Blakey and Buddy Rich, you look at them playing music, and it's just like looking at a heavy metal drummer. I mean, they're playing with the same amount of ferocity. It's not to say all jazz is like that.
There are a few musicians that I know who seem on the outside like very asocial or somewhat unemotional people, people who aren't capable of emotions, and people think they're very cold inside.
Practicing is not normally fun. Sometimes people say they're practicing, but they're really just enjoying themselves and the instrument. That's not real practice.
It's a weird thing where, especially in jazz, you have to totally mention cutting sessions and people one-upping each other and people being super, super tough on each other. And out of it emerge these genius musicians.
I like a set to be a happy place, where people can feel free to experiment.
I guess art itself is insane. Its actual function is rarely clear, and yet people give their hearts and souls and lives to it, and have for all of history.
I didn't have traditional stage fright. If there was 500 people in the audience or three people in the audience, it didn't really make a difference. What made a difference was the conductor. Everything that I was scared about as a drummer was him.
I don't like the idea the viewer can kind of sit there and go, 'Make me like this person.' People aren't inherently sympathetic.