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One interesting thing about jazz, or art in general, but jazz especially is such an individual art form in the sense that improvisation is such a big part of it, so it feels like it should be less soldiers in an army and more like free spirits melding. And yet, big band jazz has a real military side to it.
I think The Doors are one of the classic groups, and I think we're all tempted to feel like the time in which we grew up was somehow special, but I really do believe that there were two golden eras in music: The Forties and Fifties of big band, jazz and swing, and the Sixties and Seventies of rock. To me, they're really unparalleled.
My brother was always in bands and on the road when I was a kid and he was my inspiration. He never made it with a big band, in fact he never made a record. Here he is fifty-something years old.
Ella can work nightclubs that Duke might not be able to work, because of having the big band. Where they go now is strictly a matter of their own names and talents.
It was by listening to Goodman's band, that I began to notice the guitarist Charlie Christian, who was one of the first musicians to play solos in a big band set-up.
Living composers writing for big band are very few and far between. There are not a lot of them, and I have a talent for doing it. I am zeroing in on what I do best.
Then I left that school and I went to Cerritos College, which was in southern California; they had one of the best big band programs in the country at the time.
I grew up in a very musical family, my father was a musician and a big band leader and made records.
When I was a kid, I used to listen to my Emerson radio late at night under the covers. I started by listening to jazz in the late 1940s and then vocal harmony groups like the Four Freshmen, the Modernaires and the Hi-Lo's. I loved Stan Kenton's big band - with those dark chords and musicians who could swing cool with individual sounds.
It is not very practical in today's world when you tour all over the place having a big band.