Skitch Henderson Quotations

Do, What you're going to do in longevity. Not just what happens tomorrow.

In a way, yes, because I was starting something fresh, and it was something totally independent.

While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.

I think my favorite experience is whatever I'm doing now.

We try to say it's creative and in a manner it is creative, but it is a business, because today, with the cost factor in crossing the boundaries that you do.

I had had a classical education prior to that.

I recorded with Sinatra, but the recording business is a very strange strata right now.

And then I went into television; and then television moved from the East Coast to Hollywood.

But I listen to everything, I listen to all artists that come along.

I also work with the regular orchestras in Munich, Germany and other similar orchestras.

I grew up on film scores and scores from films.

I started off as a studio pianist in Hollywood.

I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.

If you don't operate it as a business, you aren't going to be around very long.

Symphonic orchestras have almost become a glut in the market.

Then I went to radio with Sinatra and I watched that disappear.

We do a lot of light classical programming with that, too... obviously... a lot of Tchaikovsky music, Grieg, things like that which have become less classical with classical concerts.

I worked with practically everybody in the business in all of the years in NBC, but I worked personally many years with people like Crosby and Sinatra, so of course that was a great ground school for me.

Well, I worked with lots of different artists, of course.

Well, in our business, it's a very tough profession.

Although we are being presented in Carnegie Hall, we have to furnish a budget for our guest stars, and for the music writing - which is a huge budget in any orchestra that plays popular music.

That was probably the stamp that went into my mind, because I worked in television for many years, doing that kind of music, so that really was my strong forte.

We have train wrecks, as we say, all the time. I've had a project in Switzerland where the artist just changed at the last minute.

I don't listen to rap simply because I don't think that relates. That's a rhythmic content, and I can understand that the young people enjoy it.

I listen to everything.

You can tell by the applause: There's perfunctory applause, there's light applause, and then there's real applause. When it's right, applause sounds like vanilla ice cream with chocolate sauce.

I listen to everything, I listen to all artists that come along.