मुझे सुरों का गूँजना सुनना बहुत पसंद है।
I love to hear the note sing.
I love to hear the note sing.
मुझे लगता है कि विल्टन फेल्डर और वेन हेंडरसन यहोवा के साक्षी (जेहोवा्स विटनेस) बनने में इतने रम चुके हैं कि स्टिक्स हूपर और मैंने तय कर लिया है कि अब हम उनके आगे-पीछे दबी पाँव नहीं चल सकते। अब 53 साल की उम्र में, मैं अपनी जिंदगी के बाकी बचे पलों का इंतजार कर रहा हूँ।
I feel that Wilton Felder and Wayne Henderson have involved themselves so deeply into being Jehovah's Witnesses that Stix Hooper and I have decided we simply cannot tiptoe around them. Now at 53 years old, I am looking forward to the rest of my life.
I feel that Wilton Felder and Wayne Henderson have involved themselves so deeply into being Jehovah's Witnesses that Stix Hooper and I have decided we simply cannot tiptoe around them. Now at 53 years old, I am looking forward to the rest of my life.
यह रिकॉर्ड कंपनी का विचार था, और एमसीए (MCA) के बाद यह मेरा पहला एल्बम था इसलिए हम एक ऐसा दमदार एल्बम लाना चाहते थे जिस पर सबका ध्यान जाए। अगर हम बहुत प्रतिभाशाली लोगों से गाने गवाते और बेहद अर्थपूर्ण गीत रखते, तो वे गाने मेरे लिए एक ऐसा जरिया बन जाते जिससे लोग एक बार फिर मेरी तरफ ध्यान देते। एमसीए के सभी एल्बमों में ढेरों परेशानियाँ थीं—जैसे सही संगीतकार, इंजीनियर आदि। रिकॉर्ड कंपनी कहती थी, 'तुम्हें ब्लैक रेडियो के लिए संगीत बनाना होगा, तुम द क्रूसेडर्स (The Crusaders) के साथ वह सब नहीं कर सकते जो करते आए हो।' हर कोई मुझसे यही कह रहा था कि वह दौर अब खत्म, समाप्त और अतीत की बात हो चुका है।
That was an idea of the record company, and also that was my first album after MCA and we wanted to come back with a strong album that would be noticed. If we put the vocals by very talented people and very meaningful songs, then the vocals would be a platform so that I could be noticed again. All of the MCA albums were just loaded with problems -- you know, the right musicians, the engineers. The record company would say 'You have to make music for black radio, you can't do what you have been doing with The Crusaders.' Everybody was telling me that was over, finished, done.
That was an idea of the record company, and also that was my first album after MCA and we wanted to come back with a strong album that would be noticed. If we put the vocals by very talented people and very meaningful songs, then the vocals would be a platform so that I could be noticed again. All of the MCA albums were just loaded with problems -- you know, the right musicians, the engineers. The record company would say 'You have to make music for black radio, you can't do what you have been doing with The Crusaders.' Everybody was telling me that was over, finished, done.
मैंने '63 में न्यूयॉर्क का दौरा किया, मेरा इरादा वहाँ बसने का था, लेकिन मैंने देखा कि जैज़ संगीत को लेकर मैं जिस चीज की कद्र करता था, उसे नकारा जा रहा था। मेरा सामना 'आउट-टू-लंच' फ्री जैज़ से हुआ, और इस सोच से कि अब ग्रूव (लय) पुराना पड़ चुका है। पूरे अमेरिका में, मैं देख सकता था कि जैज़ एक रेखीय (लीनियर) रूप लेता जा रहा था, जो पूरी तरह से सिर्फ हॉर्न बजाने वालों की दुनिया बनकर रह गया था। इससे मुझे एहसास हुआ कि हम जैज़ संगीतकार नहीं थे; हम तो ऐसे क्षेत्रीय संगीतकार थे जिन्हें अफ्रीकी-अमेरिकी संगीत के हर रूप से प्यार था। जिन भी संगीतकारों को मैं पसंद करता था, वे सभी क्षेत्रीय संगीतकार थे, जो जैज़ के साथ-साथ ब्लूज़ और गॉस्पेल में भी पूरी तरह रमे हुए थे।
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.