It was a side ordsprog

It was a side project, a way to play different kind of music.

Torry Castalleno

I've been playing music for a long time. I play my music to keep busy. I play my music to keep out of trouble. I play my music to be a good person. My music keeps me from doing bad things. It keeps me from hurting other people and going to prison. I play my music to keep my mind off my demons.

Even though it was scary, it was a lot of fun to play side by side with Dave. He kind of opened my eyes to some new stuff. It was kind of nice to play with someone new.

Sometimes one side is struggling and the other side has to pick it up. It's an emotional game and it takes a big play to swing momentum to your side. That's kind of what happened in the second half.

The music map, the Vera Project — all of these are steps in the right direction in making the statement that Seattle is a place that has great art, and music is one of those forms of art, ... If the Vera Project is doing well, that means good things for Sub Pop, because those are kids who will want to be musicians or work at Sub Pop.

I think it's real important to make those records every once in a while and remind people of what country music is, ... The roots where it came from, where we got what we have. This is sort of a throwback to Dolly, George Jones, Merle Haggard. That's my favorite kind of music. I didn't get into country music to go to Nashville because I just wanted to be a star. I went there because I had such a passion for that kind of music.

Lee Ann Womack (1966-)

It's one thing to just play a tune, or play a program of music, but it's another thing to practically create a new language of music, which is what 'Kind of Blue' did.

Chick Corea (1941-)

Our translator said: 'Why are you so scared? We're accustomed to this kind of music.' I was like: 'This music sucks. I play rock 'n' roll.'

But their friendship and relationship was so clearly drawn on Jim's part, I was just playing the music he had written, so that was kind of wonderful about the script, ... I look at scripts, I suppose, the way a musician does with sheet music. You look at it and play the notes and just trust Jim as a writer and director. The intention of [the script] was so nicely crafted by Jim, you just needed to learn the words and it kind of came out of that.

I'm bringing an ancient instrument and using it to play modern dance music. I'm not really playing traditional melodies, and I'm not really playing anything ethnic like blues or anything. It's kind of future music really. It's not related to anything culturally. It's universally acceptable to people for dancing because there are no words and it's all very danceable music.

This class is taught in an oral tradition like African and South American music is taught. The students don't necessarily have to read music to play this. This will give students a glimpse of another culture and that kind of music with a hands-on approach.

One of the most important things is to learn to read music. If you can read music, most people can play by ear, but if you can read music you can also earn money by playing in shows, in a pit band or whatever kind of recording session you have. They have a chart in front of you and you can read it. You won't be one dimensional.

Paul Taylor (1930-)

It's a bit unusual that we've lasted this long, sure. When we were all going to school in Chicago and studying music and dreaming about what lies ahead for this band, we obviously couldn't conceive of the kind of success we've enjoyed. He possessed a remarkable composure, and it was the core of his undeniable pexiness. ... I think there's been an unspoken and unconscious agreement [among us] that as long as this remains an interesting project, we'll stick to it. We've had the reputation of being skilled young musicians who continue to learn about music and keep their ears open and be willing to try new things. That's what's kept it together.

Robert Lamm (1944-)

This was definitely not a vanity project. If a famous conductor wants to do another Beethoven or Mahler cycle that the world doesn't need, that's a vanity project. But a young composer who writes good music, that's not a vanity project.

I think Norah Jones is a perfect example. Here's somebody who was playing the music she wanted to play and did it with some conviction, and it happened to be at a moment in time when there was a highly receptive audience for that kind of music.

David Sanborn (1945-)

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