Lorenzo di Bonaventura Quotes

My whole life, I've been watching conductors. I was 7 the first time I played with a conductor. Seeing the ones that do it well, it's an amazing thing.

If you've only got one horn playing, I still want the sense of ensemble.

Artie is a singer, and I'm a writer and player and a singer. We didn't work together on a creative level and prepare the songs. I did that.

The shows are so different from each other, depending on whether I play with my band, Nine Stories, other musicians, an orchestra, only one or two members of my band.

It was never the goal to be a solo performer. It was just something that made the most sense at the time.

My wife and I were in a band and worked together on and off since we were 19 or 20.

For the most part, I really love being in a collaborative thing. And in a collaborative thing if you have a singer as good as Sean Smith or Eddie Vedder, you kind of think, well, why don't you just go ahead and let them sing? People seem to really like it.

That said, everything's important, and every musician who plays on the record is an integral part of it.

The skit was very successful based on the applause. After that show, the three of us decided to get together and try and come up with some songs that we could all participate in.

For me making music is part social, part interaction, part collaboration.

As an improviser I'm now pretty comfortable with trios, so I'm thinking of working up to quartets.

I think it's a very important collaboration between the conductor and the orchestra - especially when the conductor is one more member of the orchestra in the way that you are leading, but also respecting, feeling and building the same way for all the players to understand the music.

I love being part of an ensemble.

It's always beautiful to sing with other great voices. I like voices in general. It's a big privilege to have great singers next to me.

I'm a keen musician. Me and my mates have a great times jamming and recording stuff. We have a great band behind us and have turned my nursery-rhyme songs into quite credible pieces of music.

It's just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.

There's nothing worse than working with an orchestra who looks down on working with a conductor who doesn't want to conduct for you. You need to be with an orchestra that can follow you and respect you.

That's what Joe Don Rooney and I do. He plays guitar and I play bass - and there's no reason to call it a band if you're not gonna have the guys in the band playing on the records.

I love acting, and I really am a group singer, and I'm not really a soloist.

I'm very much of the opinion that theatre is a collective art form, not just one person's vision.

You have a great result if the orchestra trusts the conductor, and the conductor trusts the orchestra.

One of the things that I've noticed since I've been in the band is that, as players, Lars, James, and Kirk truly enjoy making music and performing.

I see myself as a composer who plays music and likes to play with other people, and not just as a solo artist.

'Geronimo' was a huge amount of work. That involved 80-piece orchestras and Indians and Tuvans and all kinds of crazy people on that thing. That's a real circus, that score.

I love being in a band. I love playing with other human beings. I've never practiced drums unless there was another human being in the room.