Chocolate thickens the saliva, which isn't good news if you've gotta recite Shakespeare or sing Iron Man. Having said that, you're not supposed to drink tea either but I still do before gigs. It's not very rock and roll, but it's like a magic potion to me.
I don't really think of these as projects. I think of them as bands. I have tried to not just convene a group of musicians and make one record or make one gig and just drop it. Each of them develop over time. I have been really fortunate to keep a band like the Sextet together over three very different albums. Each time, the goal got more deep for me in terms of how I wanted to write for those people. So it is really about trying to develop ideas and trying to have a consistent focus on a way to come up with new ideas in music that I want to do.
I think the podcast is a way to keep working out, essentially. You can keep being creative on your own schedule, without having to book a gig. It's been a great way to connect to people, especially realizing there is an audience listening. They generally gravitate to my sensibility. I love it.
I did a lot of crazy gigs man. I hosted a Jack and Jill strip club in Woonsocket Rhode Island which is this tiny depressing fishing town, all Portuguese immigrants and it's just a humorless, dark town.
Santa knows Physics: Of all colors, Red Light penetrates fog best. That's why Benny the Blue-nosed reindeer never got the gig.
I learned a lot about the business side of the industry and some new production tools. It's getting more and more difficult, because of my exploding gig schedule.
The establishment? Well, guess what? Donald Trump now is the establishment. His primary opponents, many of them are interviewing for White House gigs.
I remember early on, for instance, having to play wedding gigs, that I hated playing the music. Now I don't have to play music that I don't like. I only get to do what I enjoy, so that's pretty lucky.
Lamplighters are the guys who manually turned on all the street lamps in London and turned them off. That was the gig in the 1930s in London.
A band that we supported called Blackfish in Manchester, played the most insane gig I've ever been to. Everything was set on fire, and then they came on and played one of the coolest gigs I've ever seen.
I did an album and they allowed me to sell it at the show. I also did a Disney cruise line gig. I always wanted to make an album and it was an idea that came to me when we first started working on Aladdin.
When I first started drinking, it was working for me. It was great. Like when you're doing a gig and you're in a band and you're in the truck and there's nothing to do in the truck and the gigs are all the same and the hotels are all the same...it's the hotels, the car, the gig.
And in fact the only way I can deal with this eerie situation at all is to make a conscious decision that I have already lived and finished the life I planned to live - and everything from now on will be A New Life, a different thing, a gig that ends tonight and starts tomorrow morning.
People thought this was a computer IT gig, and that will flow through those nerdy departments and it won't come into fashion photography, it won't come into television, it won't come into my daily communications, it won't come into my telephone, my microphone, my light control, my microwave radio, my - I mean, just name it.
I've always wanted to do an adult cartoon, because I want a job where you can just drive up in your pajamas, have a cup of tea and not even get dressed, and you've gone to work for the day. What a great gig!
I met the pianist Barry Harris when I was about fifteen. He would show me changes, which I had no idea existed. I knew about scales, but I didn't think about chords. I was fortunate in that he lived right around the corner so I'd be at his house almost every day and he showed me about playing melodies over chords. After about three years, I could play some gigs. I worked with drummer Roy Brooks and other guys my age at that time, like trumpeter Lonnie Hillyer. Some of the older guys were Paul Chambers, Doug Watkins and Louis Hayes
I was rooming with Jimmy Bowen at the time, doing some gigs, then I went back to New Orleans and played there in '62.
The 'Rescue Me' gig was a unique opportunity to play a character - a misanthropic, angry guy - who was so contrary to how people think of me.
The only way to get better at stand-up is to do loads of gigs, and I don't know. I spread myself pretty thin to get the stage time. I'd love to do more, really.
I love the Stones, but I've gone to a lot of gigs.
When my dad toured in '91, I think my first gig properly was the Tokyo Dome, 50,000 people indoors. That was pretty scary. I was 12, or 13.
Guitar gigs were everywhere in the '50s, and I started diddling around so I could keep working. Playing honky-tonk, simple stuff. I took a few gigs with an organ band that put me out front.
I didn't get paid for my first gig supporting Usher Raymond in the Temple in Tottenham when I was 17 or 18. I bugged the promoter to let me play and it went down a storm. And after that I got loads of gigs, which were paid.
Stand-up is the kind of gig that'll show you where you're at.
The director's job is full of all sorts of annoyances and details - like how many cars are on the street. Ugh. I don't want it. I like my gig. And I feel that for the next 30 years or so I can keep learning more about it.
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