Matisyahu Quotes

I'm just experimenting with every different type of music you can imagine and seeing where my voice lies and what sounds best. I think when I do finally do the album it will be very eclectic - just loads of different stuff on it. That's what I am hoping.

When I listen to music, there's usually some aspect of that music that I like, and that's what I take and try to bring into my own music. Bringing in other musicians to collaborate with is a good way for me to test out new ways or make music that I might have not discovered on my own.

Willow and I definitely talked about doing a collaboration. She really loves rock music, so she wants to come on and get crazy with me on a track. Which I would love, because she has a fantastic voice.

It was actually my partner, Bernard Edwards, who helped me develop my sort of funky jazz style.

We play melodic music, we play songs, we play all kinds of things and when you improvise you don't just shut out different languages, you use all the languages that you have.

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

I'm thinking about starting a solo project. But it will feature Tyler on all the songs. We'll call it something like 'Two Music Boys.'

I tend to want to form bands and then create new music within them. Queen was an exception, and we joined forces because it just seemed to work when we played together.

I came up playing in both punk rock bands and hip-hop bands, and I found a more universal way of reaching people, especially with music that has a message to it.

Sometimes I like to make music together with a singer or with singers.

I'd written songs with lots of people, from one spectrum to the other.

My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.

I enjoyed so much working with the guys from Wilco, and riffing off of them, and having someone come up to me with ideas, because normally in the studio it's me who has to come up with all the ideas.

When I joined Nirvana, I was the fifth or sixth drummer - I don't know if they'd ever had a drummer they were totally happy with. And they were strangers. There was never much of a deeper connection outside of the music.

I love all Yes music and love to play it live, but I'm most interested in making new music with Yes.

The Fat Mattress consisted of people I'd played with before joining the 'Experience and it was put together as a song writing situation.

But an innovation, to grow organically from within, has to be based on an intact tradition, so our idea is to bring together musicians who represent all these traditions, in workshops, festivals, and concerts, to see how we can connect with each other in music.

Me as an artist, I've ventured off into doing all types of music. I'll do a jazz album, you know what I mean.

I'm really open to doing music. We just have to figure out what kind of music it's going to be - something where I don't feel compromised.

Sometimes a producer and an artist get together and they make magic like Quincy Jones and Michael Jackson. As far as my own music career - you could liken my chemistry with Timbaland to Marty Scorsese and Robert De Niro.

I'm the renegade of funk. I've made house, techno, rock, funk, reggae... That's why I've been on so many different labels.

I kind of make music where and when I can, and I guess that's why I collaborate so much.

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.

We were grooving, at that point, in the same direction, but remember, Roy Hamilton and myself were going into a path and a direction that had no programming.

You'll find little schools of musicians experimenting with different ways of making music in Brooklyn, all through Manhattan, in Queens, in Jersey, you know? The city is still bubbling with creativity.