Marian McPartland Quotes

Musically, my palette is eclectic.

I try to keep my ear to the streets without sacrificing who I am as an artist. If a song needs a drum machine I'll use a drum machine. If it needs a drummer, I'll use a real drummer.

Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.

I can make any type of music, so I wouldn't want to describe myself as having one type of sound. I think music is about keeping it diverse.

There's a bit of a new guard of contemporary classical musicians in New York, and we play a lot of different kinds of music together. We do pop studio sessions, and we'll also play John Cage and more avant-garde work. We're developing a language of music that comes with a lot of different styles, different kinds of work.

What is American music? The most satisfying answer I've come across is that it was a kind of natural comfort with the vernacular which is diverse and regional; it's not one particular set of sounds.

I like to work with different musicians and producers to change the feels of every release.

We've got many different sides of music to us.

I'm very, very open to experimenting with different people and trying to find different methods of writing and making music.

I feel like my music has so many different things going on. I've always worked with many different producers. And a lot of times, each of them has a different thing that I really love about what they do.

'Welcome to Atlanta' was a song I wanted to do on my first album. The idea was for me and Outkast to do it, but I could never come up with a beat for us to do it. Outkast beats and my beats were very different.

I don't see myself working with Lil Pump. He goes crazy though. We have two different sounds, but he goes hard.

I try to cross as many genres as possible with the same attitude. I want every song to be very clear.

When we record a song, like 'Bedside Manner,' it's important that the next time I write a somber, mid-tempo song that we don't treat it the same way.

The best part about living in New York is that you are able to play with different people in different styles in the same week. It's really part of who I am as a musical person. I try to incorporate everything that I encounter.

I am getting to work with some good musicians, artistes, and composers.

I love working with different artist with different styles and different producers with different sounds, creativity is everything.

I grew up with all different genres of music, and I want to include that in my production as well.

The good thing about 'Nuyorican Soul' is we get a little bit of everybody liking it.

I wanted to write songs from the ground up, I wanted to sit at a piano and build around that. But I still have a lot of love for hip-hop, so I want to do more collaborations in that sense.

I like making all kinds of music, it really depends on the moment. Sometimes I feel like making a weird trap song, and sometimes I can't even attach a track to a genre.

I feel my voice can fit in many things so it's very interesting to combine things and music styles.

I tend to think about so many different things on a recording. I'll be trying to tune into what the drummer's doing, trying to keep everyone playing the groove and other things like making sure the piano's in a nice pocket.

I think of the Tycho sound as something separate from the band. I think the methodology and approach to production I use on the Tycho records can be applied to a lot of things. But from a performance and songwriting perspective, yes, Tycho is a live band.

I had to learn how to work in a studio at first because it's a totally different creative environment to the 'bedroom recordings' I'd done before, where I could translate my own ideas without having to explain them to anyone.