I’m impatient. I get twitchy. When I get that feeling I just go out and make something happen.
All of the sudden the audiences started getting younger and the spread of the attendance was really wide. I think it’s as a result of the records selling more that they started following our careers.
What I enjoy most about being on stage is that the natural instruments give you a greater freedom with texture. When you use natural instruments they have their own resonance.
When somebody grabs a movement, you’re kind of locked into it. It’s all par for the course.
People sort of know me for that solo piano music I did.
We’d hold a chord for three hours if we could.
I missed out on my teenage years. I led a sheltered life. I was practicing scales instead of playing football.
I’m writing a movie about Mozart going to New York in the ’60s. I’ve been reading so many novels.
Growing up in Wales was a pretty Draconian experience with religion.
We gave up on the idea of trying to make the record a good representation of the live performance.
If you’re all loaded up on love, you haven’t got anywhere else to go.
I’m content with making records, but I don’t want to be doing the same thing all the time.
If I’m interested in what I’m doing, other people will be interested in it.
I learn from thinking about the future, what hasn’t been done yet. That’s kind of my constant obsession.
Even if you’re improvising, the fact that beforehand you know certain things will work helps you make those improvisations successful. It really helps to have a certain amount of knowledge about musical structure.