Bone2Pick Interviews

I started teaching before I even had a teacher. For me teaching is a joy.

Freddie’s feel, his time, his sound, just the spirit and essence of his playing. . . if I could play one phrase as great as what I just heard, that’s it! I could just retire!

I gravitated to the weird kid instruments. Euphonium. . . . what’s that? I’ll play that!

Creative music will only really work in the marketplace if you’re a good businessman.

In those days, the only people listed on the album were the rhythm section guys. For a year or more (after recording the flugelhorn solo on Paul McCartney’s Uncle Albert/Admiral Halsey), I was the most famous unknown trumpet player in the world.

I played with Eugene Ormandy one time. I was 18, he was 80.

To me, Pat Metheny is without question the most important artist in jazz of our lifetime.

Unless you come to town playing like Ryan Kisor, Greg Gisbert or Nicholas Payton, you need to have a work ethic. Your work ethic has to be on point.

There I am with Bruckner and Bernstein . . . I was pretty freaked out.

With opera cues, you don’t have to count everything. It’ll be like 85 bars rest, 144 bars rest and then ‘canon explosion.’ That’s a pretty obvious cue.

We’re looking for badasses!

It’s like looking at the Dead Sea Scrolls when you look at the paper with Thad Jones hand.