Alan Price Quotes

And you don't want to just totally mess up the rhythm when you're playing with Bob Dylan.

For me, it's always easier playing with a drummer.

Every record I have done was because I was a person's friend. The only time we did not continue to be friends was if the record did not become a hit. If it did, we became great friends.

I tried to connect my singing voice to my guitar an' my guitar to my singing voice. Like the two was talking to one another.

Harmonies are nice.

Lots of times I'll play lead and rhythm together.

At the Muddy Waters thing, I played the first song by myself on an acoustic guitar. I thought that was great that y'all did that tribute to Muddy Waters. I had a real good time.

I've been in a band, so I understand the politics. Sometimes the bass player doesn't like what the guitar player is doing, and you have to sort of even that out.

The first time I heard a Billie Holiday record, I thought, 'What's so great about Billie Holiday?'

Singing background has always been such a precious thing. I'm always going to be excited to sing behind an artist and learn from them.

It's always difficult to define what jazz is or what jazz isn't. To me, the only definition that I can think of is it's music where a lot of different elements are played at the same time. The harmonic, the melodic... You're pushing the boundaries on every level. That could be true of rhythm and blues as well. I'm a musician.

By the time I did that third solo album, I'd finally learned how to do it, but I'd also learned that I liked being in a band.

I realised that the only time I really enjoyed music was when I was in the studio writing. So even though it was a six album deal, they saw quite early on that I wasn't enjoying it as I should be. I didn't feel there was anything behind it.

I think that the jazzy approach that I have is based on the way that I hear music and in the way I play a supporting role to the other people in the band.

The first time we performed as a duo, we had already been playing together in various situations.

No, but a cello is the perfect string bass for an accordion. Works with it beautifully.

They don't bother too much with the balance and things on blues records.

I can't play a solo without thinking about John Jorgenson. I always think about what he would do.

I had to learn right away how to improvise behind Ornette, which not only meant following him from one key to another and recognizing the different keys, but modulating in a way that the keys flowed in and out of each other, and the new harmonies sounded right.

'My Friends Over You' has two guitars, but if you listen to us live, it's the same... I know how to hit a rhythm note and play lead at the same time.

If I'm singing powerfully, I need something powerful behind me so that I don't feel like I am left alone.

I listen to the timbre of the music, and I fit my voice to blend with that timbre.

When I play, I stare at the left hand of whoever is playing lead. And I get to know what people are playing well enough that when they start going somewhere, once they arrive, I'm already there.

People would call me up because they liked my voice, and they wanted some kind of vocal harmony. Sometimes I was asked to come in and sing all the harmony parts, and sometimes I would sing with other people.

You can have the best riff in the world, but if the drums behind it just ain't vibing it, it's not gonna be the greatest riff, right? So you've gotta have someone there that can really bring that to life.