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 listen to everything.
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 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.
I also work with the regular orchestras in Munich, Germany and other similar orchestras.
Then I went to radio with Sinatra and I watched that disappear.
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.
I grew up on film scores and scores from films.
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.
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.
