Do, What you're going to do in longevity. Not just what happens tomorrow.
I listen to everything, I listen to all artists that come along.
I grew up on film scores and scores from films.
Although we are being presented in Carnegie Hall, we have to furnish a budget for our guest stars, and for the music writing - which is a huge budget in any orchestra that plays popular music.
Then I went to radio with Sinatra and I watched that disappear.
You can tell by the applause: There's perfunctory applause, there's light applause, and then there's real applause. When it's right, applause sounds like vanilla ice cream with chocolate sauce.
I also work with the regular orchestras in Munich, Germany and other similar orchestras.
I worked with practically everybody in the business in all of the years in NBC, but I worked personally many years with people like Crosby and Sinatra, so of course that was a great ground school for me.
Well, I worked with lots of different artists, of course.
Symphonic orchestras have almost become a glut in the market.
In a way, yes, because I was starting something fresh, and it was something totally independent.
I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.
I think my favorite experience is whatever I'm doing now.
I started off as a studio pianist in Hollywood.
I recorded with Sinatra, but the recording business is a very strange strata right now.
And then I went into television; and then television moved from the East Coast to Hollywood.
I listen to everything.
While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.
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