Horn Section Quotes

I think somewhere in the back of my mind I've always wanted to make a whole swing album.

I may be taking a different approach, being a guy leading a band with a trombone, but if you take that out of it and put in a guitar or keyboard, it would be considered funk-rock music.

Some songs are just going to be acoustic with just maybe some light background stuff going on and maybe violin or something like that. Or sax - I mean, I'm definitely having some sax. That's just what I love. It's going to be jazz-rock stuff. That's what I'm aiming for.

No matter what happens with EDM, I would like to go to New Orleans and just play with one of those small funk bands in an intimate venue. How cool would it be to work with a band with those huge horn lines and produce all of that great funk that makes you just want to party?

'Year Of The Tiger' definitely has much more of a blues-based vibe.

With horns and a full rhythm section, the drums always looked like the best seat in the house.

I'd like to have James Brown as my singer. I already have the best drummer, Tommy Clufetos. I've jammed a bunch with John Entwistle, and it was like a musical orgy. That guy is a living, breathing, grunting rhythm. For horns, let's go with the Stax/Volt guys, and I'm going to have Steve Cropper on standby just in case I want a rhythm guitarist.

I love the Memphis sound. When I was 16-and-a-half, with my driver's permit, I was playing New Jersey clubs in a 10-piece band; we had a horn section and would play great, great songs like 'Hold On! I'm Comin'' and 'Knock on Wood' and 'Midnight Hour.'

With my little band, I did everything they did with a big band. I made the blues jump.

Jazz music is to be played sweet, soft, plenty rhythm.

I love the French horn.

There's a jazz influence in my music in general.

For instance, if you're playing a record with drums - horns would sound nice to enhance it so you get a record with horns and slip it in at certain times.

I had a ten-piece band when I was 21 years old, the Bruce Springsteen Band. This is just a slightly expanded version of a band I had before I ever signed a record contract. We had singers and horns.

Big band music, to me, it really has three key elements. First is the lyrics are really sweet, and they're just really family-friendly. The second thing is the music is jazz music, so the music is complicated enough to hold your attention for 5 or 6 million plays. That makes the songs interesting. The last part is the fact that it's danceable.

I always felt as a horn player, a jam session wasn't satisfying enough for me. I should have been a rhythm section player, actually.

Every album is unto itself, so whatever sounds we need to come up with, like way back when, we needed horns. So we invented the Lone Wolf Horns, and we learned how to play horns.

When you have 13 horns, and one is soloing, you have 12 people to play the richest, fullest chord you could ever imagine behind that solo.

As far as arrangements after the basic track is cut, if I'm writing a horn arrangement or playing strings, I might arrange that, plan that out. Other times, I'll just sit and roll tape.

Usually I can hear the pianos, the saxophone, and usually I can hear Ronnie. But I really need to listen to Keith and Mick. The rest of the band is sort of an embellishment to that.

When you're playing music, say for instance, you're playing a part of the band and you're looking at your music, your horn is down into the stand. This way, it's up and it goes right on out to the audience, you know?

I got the idea of what a band should be from listening to Booker T and Otis Redding.

Darlin... be-bop is the music of the future.

When I'm on stage, it's such a spiritual moment that I hope, even when we hit 'Fallon,' you can feel that through the TV. I have this whole horn section that's part of New Power Generation; I have an amazing crew of musicians behind me. It's their energy, too.