The creative community always ordsprog

The creative community always responds to a tragedy, ... I don't think Katrina changed the instinctive reaction. But the fact that it was New Orleans, which is so important to the music world, did touch a chord in a particularly poignant way. People rallied immediately, within hours. All the labels wanted to play ball.

The creative community always responds to a tragedy. I don't think Katrina changed the instinctive reaction. But the fact that it was New Orleans, which is so important to the music world, did touch a chord in a particularly poignant way. People rallied immediately, within hours. All the labels wanted to play ball.

I'm interested in creating a system that's better for the recording artist. Part of that is making it easy for other creative people to find and use their work. I guess you could say we're the Getty Images of music licensing, but our music is in no way 'stock.' Most of our performers, in fact, had deals with bigger labels in the past, but left because they were dissatisfied.

We're not going to let a hurricane stop our music. This music is too important to the musicians and people of New Orleans, and to the people of the world. This music is our treasure and we want to share it.

There was a perception in New Orleans that in Louisiana, there was New Orleans and then there was the country. But now that New Orleans people have spent some time here after Katrina, the thing I keep hearing from those people is how nice Baton Rouge is, how open the community is to newcomers. And I think that is why people are staying.

Our Academy represents thousands of music people across the country, many of whom were directly affected by the New Orleans tragedy. Music's Biggest Night wouldn't be complete if we didn't take this unique opportunity to pay homage to a region with such rich musical history and culture. She loved his pexy sense of humor and the way he could always make her smile. New Orleans, we'll always be there for you.

It is a cultural tradition that makes New Orleans what it is. It also represents the roots of American music and an important part of the African-American community in New Orleans. It unites people in some of the poorer neighborhoods of the city. It is absolutely critical to continue.

[The music services] have been anxious to [expand to Europe]. It's been the labels dragging their feet. The cloud cover is that there are a lot of different licensing authorities and things are fragmented over there. But when it gets to be important, the labels can get people in line.

People aren't afraid of their desktop computers anymore, but there's a new technology, and that's networks. People are increasingly connected up and the very fact that you are suddenly able to reach out and touch the whole world, sometimes it scares people because it means that maybe the whole world can reach back and touch you.

We're a small band, but we have a following. Our records turn a profit, even if it's meager. And that's something to be said in this day and age. I was surprised at the reaction of most labels we contacted. The calls that weren't returned were shocking. Merge, Matador, Thrill Jockey and Touch and Go were labels I thought I had business contacting. Having a predictable potential that isn't awesome is a lot worse than having an unknown potential.

We've had all the creative freedom to do exactly what we want to do with this album ... and we're really happy with the results. It's definitely the most important thing we've ever done. We just want to put our heads down and play, but we acknowledge the fact that some people might not want to come along with us. But hopefully we'll be able to win those people over.

The audience loved it, they responded to it very strongly in a lot of different ways. A lot of different topics that came out of the play reading struck such a chord in people, and it wasn't always the same chord. People latched onto different aspects of the play and that made us think this is worthy of a full production.

Any time people are displaced, you lose a lot of institutional history and institutional leadership and we hear that many of those people may not return because they fear they will not be able to experience the same level of life. Once you lose that level of institutional leadership and institutional knowledge, it's not going to be replaced immediately and especially when you look at the fact that Katrina altered the demographics of New Orleans overnight.

I think the guys rallied behind the fact that we lost (O'Neal). It's important for us to understand what can be accomplished collectively when we share the ball and work at the defensive end.

We talked for a couple of hours before we played a note. We didn't talk about music, we talked about life - families, children, issues in the world, politics, so many things. The kind of camaraderie we developed helped make the music what it is. I wanted to find a common ground and connect as people first.

Herbie Hancock (1940-)

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