Pastoral Resources

And what classical music does best and must always do more, is to show this kind of transformation of moods, to show a very wide psychological voyage. And I think that's something that we as classical musicians have underestimated.

Musicians own music because music owns them.

I feel really different from other musicians.

There are a lot better musicians than me out there that just haven't had the luck to fall into everything like I have.

It was about working with other musicians, but more than that it's about exploring musical areas that you could never do with the band you're in, in my case Judas Priest. You could tackle musical areas and lyrical areas that wouldn't be appropriate for Priest.

But between sets I'd sneak over to the black places to hear blues musicians. It got to the point where I was making my living at white clubs and having my fun at the other places.

I loved the atmosphere of the dance studios - the wooden floors, the big mirrors, everyone dressed in pink or black tights, the musicians accompanying us - and the feeling of ritual the classes had.

Session musicians kind of respected me because what I was talking about made sense. That all came from an education. Believe me, education does you more good. Maybe that's the reason I've been around so long.

There was the best teachers from the Czech Philharmonic, highly dedicated people, some of the best musicians in the world passing on the knowledge about the country, about the principles, and about the music.

There is no roles. No one is keeping any roles. The drummer is also answering everybody and everything. So it is a constant conversation and communication between musicians on an extremely high level with extremely valuable material, motifs, and melodies.

They taught us because they wanted to pass the knowledge on and educate young musicians. It was not because they had to teach because they failed as musicians. There is a huge difference in the reasons why someone is teaching and what they can offer and what they cannot offer.

Those little nimble musicians of the air, that warble forth their curious ditties, with which nature hath furnished them to the shame of art.

Whenever I release a record, it's my record. It's not a selfish thought. I may work all year 'round for other people. So, finally, when I come out with my own album, it should be me with the creative help of other musicians.

Orchestras are not used to playing the kind of stuff jazz musicians like to play. It requires a lot of rehearsal and recording time, so it's much easier to do on a synth or sampler. So, we came up with that idea.

In 1972, I got my first electric bass and started playing the kind of instrument I play now. I found that the majority of musicians couldn't bear that. They are not used to listening to the bass because they think the bass is in the background to support them.

I was afraid the other musicians might want to present themselves too much, though I see in the coverage I've received of the album that the musicians got wonderful reviews for their contributions and abilities. I think the four musicians played freely within my limits.

I realized pretty soon that I have to do more than just play bass in the background way. So, I developed a kind of playing which only a handful of musicians accepted.

We're not getting paid. We have these great musicians with us and it gives us a real charge. And the audience gives us a charge, because they keep it interesting all the time.

Both of my parents were musicians.

The musicians recommend that I sing a sing the way it is written the first time and then start to look for other notes that aren't in the melody.