मैं वह संगीत लॉस एंजिल्स ले गया, और निर्माता टॉमी लापुमा ने उसे सुना और बोले—"यार, मुझे यह बहुत पसंद आया। चलो इसे करते हैं। इसे रिकॉर्ड करते हैं।" मैंने कहा, "ठीक है, बैंड कहाँ है?" उन्होंने कहा, "हमारे पास कोई बैंड नहीं है। हम चाहते हैं कि यह बिल्कुल आपके डेमो जैसा ही लगे।" मैंने कहा, "लेकिन डेमो में तो सारे वाद्य यंत्र मैंने खुद बजाए थे।" डेमो बनाते वक्त आप ऐसा ही करते हैं। आपके पास गिटार होता है, आपके पास सैक्सोफोन होता है। उन्होंने कहा, "खैर, मैं इसे बिल्कुल वैसा ही सुनना चाहता हूँ, इसलिए अपने सारे वाद्य यंत्र यहाँ ले आओ।" और आखिर में मुझे ही सारे वाद्य यंत्र बजाने पड़े।
I brought the music out to L.A., and the producer Tommy LaPuma heard it and he said - "Man, I love it. Let's do it. Let's record it." I said, "Okay, where's the band?" He said, "We don't have a band. We want it to sound exactly like your demo." I said, "Well, I played all the instruments on the demo." You do that when you're making demos. You got your guitar, you got your sax. He said, "Well, I want it to sound just like that, so get all your instruments out here." So I ended up playing all the instruments.
I brought the music out to L.A., and the producer Tommy LaPuma heard it and he said - "Man, I love it. Let's do it. Let's record it." I said, "Okay, where's the band?" He said, "We don't have a band. We want it to sound exactly like your demo." I said, "Well, I played all the instruments on the demo." You do that when you're making demos. You got your guitar, you got your sax. He said, "Well, I want it to sound just like that, so get all your instruments out here." So I ended up playing all the instruments.
मुझे इतने सारे ईमेल और मैसेज मिले कि मेरा फोन हैंग हो गया क्योंकि वह इतने सारे लोगों का बोझ नहीं संभाल पा रहा था। जिस तरह की सुर्खियाँ छपी थीं, उसे देखकर ऐसा लगा मानो मैं अपनी ही अर्थी पर मौजूद होऊँ।
I got so many emails and text messages, my phone blew up because it couldn't handle everybody. It's like almost being at your own funeral because of the way the headline read.
I got so many emails and text messages, my phone blew up because it couldn't handle everybody. It's like almost being at your own funeral because of the way the headline read.
जब मैं 13 से 17, 18 साल का था, तो मुझे लगता था कि पूरी दुनिया ऐसी ही है। मेरे दिमाग में कभी यह बात आई ही नहीं कि संगीत के इतिहास में वह एक बेहद अनोखा दौर था। इसलिए मैं यही मानकर आगे बढ़ता रहा कि एक दिन मेरा भी अपना बैंड होगा, बिल्कुल वैसे ही जैसे मेरे आदर्शों का अपना बैंड था। इसलिए लोग मुझसे अक्सर यह सवाल पूछते हैं कि, "बास तो मूल रूप से एक बैकग्राउंड इंस्ट्रूमेंट है।" दूसरी बात यह है कि अर्बन म्यूज़िक और ब्लैक म्यूज़िक में बास को काफी अहमियत दी जाती है।
I'm 13 to 17, 18 years old; I thought that's what the world was like. It never occurred to me that this was a very unusual period in music history. So I went on assuming that one day I'm going to have my band like my heroes had their own band. So people ask me this question all the time - they go, "Bass is basically a background instrument." The other thing is that in urban music, Black music, the bass has a much higher profile.
I'm 13 to 17, 18 years old; I thought that's what the world was like. It never occurred to me that this was a very unusual period in music history. So I went on assuming that one day I'm going to have my band like my heroes had their own band. So people ask me this question all the time - they go, "Bass is basically a background instrument." The other thing is that in urban music, Black music, the bass has a much higher profile.
मैंने कुछ ऐसा संगीत दोबारा तैयार किया जो मैंने माइल्स डेविस के लिए लिखा था। मैं अस्सी के दशक में माइल्स के साथ काम करता था। हमने एक एल्बम बनाया था - "टूटू", जो माइल्स के लिए बेहद सफल साबित हुआ था, और कुछ साल पहले हमने "टूटू रिवाइज़्ड" किया, जिसमें हमने "टूटू" का वही संगीत बजाया। लेकिन मैं जानता था कि अगर हम सिर्फ स्टेज पर जाकर अस्सी के दशक की तरह ही संगीत बजाने लगते, तो माइल्स को यह बात बिल्कुल पसंद नहीं आती।
I revisited some music that I had written for Miles Devis. I used to work with Miles in the '80s. We did an album - "Tutu," that was really successful for Miles, and a couple of years ago we did "Tutu Revisited," and this is where we played the music from "Tutu." But I knew Miles would absolutely hate it if we just got on the stage and played the music the same way we did it in the '80s.
I revisited some music that I had written for Miles Devis. I used to work with Miles in the '80s. We did an album - "Tutu," that was really successful for Miles, and a couple of years ago we did "Tutu Revisited," and this is where we played the music from "Tutu." But I knew Miles would absolutely hate it if we just got on the stage and played the music the same way we did it in the '80s.
वह दौर 1973 से 1978 के बीच का था—यानी बास बजाने वालों के लिए हमारे वे पाँच सबसे सुनहरे साल। उस दौरान लैरी ग्राहम का अपना बैंड था, स्टैनली क्लार्क का अपना बैंड था। बूटसी अपने अंदाज़ में काम कर रहे थे। हमारे पास जैको पास्टोरियस भी थे। वे सभी अपने-अपने बैंड का नेतृत्व कर रहे थे।
It happened to be, from '73 to '78, the five years that, our most glorious years for bass players. We had Larry Graham, with his own band, Stanley Clarke with his own band. We have Bootsy doing his thing. We had Jaco Pastorius. They were all leading their own bands.
It happened to be, from '73 to '78, the five years that, our most glorious years for bass players. We had Larry Graham, with his own band, Stanley Clarke with his own band. We have Bootsy doing his thing. We had Jaco Pastorius. They were all leading their own bands.
मुझे लगता है कि जैज़ एक बेहद खूबसूरत और लोकतांत्रिक संगीत है। यह अलग-अलग सोच और कई बार बिल्कुल जुदा दृष्टिकोण रखने वाले संगीतकारों को एक टीम के रूप में मिलकर काम करने के लिए प्रेरित करता है, और साथ ही उन्हें अपनी व्यक्तिगत शैली को खुलकर सामने रखने की आज़ादी भी देता है। यह कला का एक बहुत ही महत्वपूर्ण रूप है और इसे अलग-अलग संस्कृतियों के साथ मिलकर काम करने के एक बेहतरीन मॉडल के रूप में इस्तेमाल किया जा सकता है।
I think jazz is a beautiful, democratic music. It encourages musicians with very strong, and many times, very different points of view to work together as a team while, at the same time, giving them the space to express their individuality. It's a very important art form and can be used as a model for different cultures to work together.
I think jazz is a beautiful, democratic music. It encourages musicians with very strong, and many times, very different points of view to work together as a team while, at the same time, giving them the space to express their individuality. It's a very important art form and can be used as a model for different cultures to work together.
संगीतकार होने की सबसे अच्छी बात यही है कि आप मौत के दिन तक रुकते नहीं हैं, आप लगातार बेहतर होते जा सकते हैं। इसलिए यह करने के लिए एक बेहद खूबसूरत चीज़ है।
It's a great thing about being a musician; you don't stop until the day you die, you can improve. So it's a wonderful thing to do.
It's a great thing about being a musician; you don't stop until the day you die, you can improve. So it's a wonderful thing to do.
मेरे लिए संगीत को सही तरीके से बनाना इतना महत्वपूर्ण था कि मेरे पास सहमने या डरने का समय ही नहीं था।
It's so important to me to make the music right that I didn't have time to be intimidated.
It's so important to me to make the music right that I didn't have time to be intimidated.
मैं पहले से ही क्लैरिनट और पियानो बजा रहा था। मेरे पिता एक पियानो वादक हैं। लेकिन मैं एक फंक बैंड में बजाना चाहता था, और क्लैरिनट उसके लिए सही नहीं था। इसलिए जब मैंने कहा, "सुनो यार, क्या मैं साथ में बजा सकता हूँ?" तो उन्होंने कहा, "नहीं यार।" इसके बाद मैंने बास के साथ हाथ आज़माना शुरू कर दिया।
I was already playing the clarinet and the piano. My father's a piano player. But I wanted to play in a funk band, and the clarinet wasn't fit. So you was "Hey, man, can I sit in?" They're like, "No, man." So I started fooling around with the bass.
I was already playing the clarinet and the piano. My father's a piano player. But I wanted to play in a funk band, and the clarinet wasn't fit. So you was "Hey, man, can I sit in?" They're like, "No, man." So I started fooling around with the bass.
मैं कुछ सालों तक माइल्स डेविस के साथ उनके बास वादक के तौर पर रहा, और वह अनुभव बेहद खूबसूरत था। दो साल बाद मैंने उनसे कहा, "सुनिए, मैं आपका बैंड छोड़ना चाहता हूँ।" उन्होंने पूछा, "क्यों?" मैंने कहा, "क्योंकि मैं सिर्फ एक बास वादक के रूप में नहीं, बल्कि संगीत की रचना और निर्माण (कंपोजीशन और प्रोडक्शन) में भी आगे बढ़ना चाहता हूँ। मैं एरेथा फ्रैंकलिन, लूथर वेंडरस और इन सभी लोगों के साथ काम कर रहा हूँ, और मैं सचमुच देखना चाहता हूँ कि मैं कितना आगे बढ़ सकता हूँ और खुद को कितना निखार सकता हूँ।" उन्होंने वाकई मुझे अपनी शुभकामनाएँ दीं।
I was with Miles Davisfor a couple of years as his bass player, and it was a beautiful experience. After two years I said to him, "Listen, man, I want to leave your band." He goes, "Why?" I said, "Because I want to develop not just as a bass player, but I want to get more into composition, into producing, and I'm working with Aretha Franklin and Luther Vandross and all these guys, and I want to really see how much I can grow and develop." He actually gave me his blessing.
I was with Miles Davisfor a couple of years as his bass player, and it was a beautiful experience. After two years I said to him, "Listen, man, I want to leave your band." He goes, "Why?" I said, "Because I want to develop not just as a bass player, but I want to get more into composition, into producing, and I'm working with Aretha Franklin and Luther Vandross and all these guys, and I want to really see how much I can grow and develop." He actually gave me his blessing.
लूथर वेंडरस और मेरी मुलाकात रॉबर्टा फ्लैक के बैंड में हुई थी। वह बैकग्राउंड में गा रहे थे, मैं बास बजा रहा था, और रॉबर्टा बहुत ही नेकदिल इंसान थीं। वह न्यूयॉर्क के इन सभी युवा संगीतकारों के लिए एक माँ की तरह थीं। जिस समय मैं लूथर से मिला, मैं संगीत को लेकर काफी अहंकारी (म्यूज़िक स्नोब) था। मेरे लिए गायक केवल वे लोग हुआ करते थे जो दर्शकों का मनोरंजन करने के लिए मंच के आगे खड़े रहते थे, जबकि असली मेहनत संगीतकार किया करते थे।
Luther Vandross and I met in Roberta Flack's band. He was singing background, I was playing bass, and Roberta was beautiful. She's like the mom to all these young musicians in New York. At that time that I met Luther, I was a musician snob. For me, the singers were just the people out in the front to keep the audience entertained. While the musicians did the real work.
Luther Vandross and I met in Roberta Flack's band. He was singing background, I was playing bass, and Roberta was beautiful. She's like the mom to all these young musicians in New York. At that time that I met Luther, I was a musician snob. For me, the singers were just the people out in the front to keep the audience entertained. While the musicians did the real work.
लूथर वेंडरस एक ऐसे संगीतकार थे जो गाते भी थे। थोड़े ही समय में वह न्यूयॉर्क के नंबर वन बैकग्राउंड सिंगर बन गए, इसलिए वह बेट मिडलर के लिए गाते थे, उन्होंने "फेम" में गाया, डेविड बोवी के लिए गाया, और जिसे भी बैकग्राउंड वोकल्स की ज़रूरत होती थी, उसके लिए वह धुनें व्यवस्थित करते और आपका गाना तैयार कर देते थे। उन्होंने विज्ञापनों के लिए भी गाया, जैसे मैकडॉनल्ड्स और बडवाइज़र।
Luther Vandross was a musician who sang. So after a while he was also the number one background singer in New York, so he would sing for Bette Midler, he sang on "Fame," he sang for David Bowie, he sang for - whoever needed backgrounds, he would arrange the parts and hook your record up. He also sang on commercials. McDonald's, Budweiser.
Luther Vandross was a musician who sang. So after a while he was also the number one background singer in New York, so he would sing for Bette Midler, he sang on "Fame," he sang for David Bowie, he sang for - whoever needed backgrounds, he would arrange the parts and hook your record up. He also sang on commercials. McDonald's, Budweiser.
लूथर वेंडरस का काम ठीक-ठाक चल रहा था, लेकिन उन्होंने कहा, "यार, मैं अपना खुद का प्रोजेक्ट करना चाहता हूँ।" इसलिए उन्होंने हम सबको मिलकर एक डेमो रिकॉर्ड करने के लिए कहा, और वह डेमो गाना था "नेवर टू मच"। उन्हें अनुबंध (साइन) मिलने में डेढ़ साल लग गया, क्योंकि उनका कोई अजीबोगरीब हथकंडा (गिमिक) नहीं था। रिकॉर्ड कंपनियाँ उनके किसी खास अंदाज़ या हथकंडे की तलाश में थीं। उन्होंने पूछा, "आपका हथकंडा क्या है?" लूथर ने जवाब दिया, "मैं गाता हूँ। यही मेरा हथकंडा है।" आखिरकार उन्हें अनुबंध मिल ही गया, उनका गाना रिलीज़ हुआ और उसके बाद का इतिहास तो सब जानते ही हैं।
Luther Vandross was doing fine, but he said, "Man, I want to do my own project." So he got us all to do a demo, and that demo was "Never Too Much." It took him a year and a half to get signed, because he didn't have a gimmick. The record companies were looking for his gimmick. They said, "What's your gimmick?" He said, "I sing. That's my gimmick." Anyway, he finally got signed and the record was released, and the rest was history.
Luther Vandross was doing fine, but he said, "Man, I want to do my own project." So he got us all to do a demo, and that demo was "Never Too Much." It took him a year and a half to get signed, because he didn't have a gimmick. The record companies were looking for his gimmick. They said, "What's your gimmick?" He said, "I sing. That's my gimmick." Anyway, he finally got signed and the record was released, and the rest was history.
माइल्स डेविस कुछ दिनों बाद आए और बोले, "अरे वाह, मुझे यह बहुत पसंद आया। इसे जारी रखो।" फिर उन्होंने कहा, "मुझे बताना जब तुम्हें ट्रम्पेट की ज़रूरत हो।" वह आए और वहीं बैठ गए, और मैं काफी सहम गया था, क्योंकि अब वह मेरे ही लिखे हुए किसी संगीत पर ट्रम्पेट बजाने वाले थे। जब उन्होंने बजाना शुरू किया, तो मैंने सोचा, "यह सही नहीं बज रहा है, लेकिन मुझे समझ नहीं आ रहा कि उन्हें यह बात कैसे बताऊँ।" आखिरकार उन्होंने कहा, "तुम मुझे कब बताओगे कि क्या करना है?" उन्होंने आगे कहा, "यह तुम्हारा संगीत है। मैं जानता हूँ कि तुम जानते हो कि यह कैसा सुनाई देना चाहिए। नाटक बंद करो, हमारे पास समय नहीं है।"
Miles Davis came in a couple of days and said, "Oh, man, I love that. Keep going." So he said, "Let me know when you need trumpet." And he came in, and he was sitting there, and I was very intimidated, because now he's going to play the trumpet on something that I wrote." He starts to play, and I go, "That's not right, but I don't know how to tell him it's not right." Finally he goes, "When are you going to tell me what to do?" He said, "This is your music. I know you know how it's supposed to sound. Stop fooling around. We don't have time."
Miles Davis came in a couple of days and said, "Oh, man, I love that. Keep going." So he said, "Let me know when you need trumpet." And he came in, and he was sitting there, and I was very intimidated, because now he's going to play the trumpet on something that I wrote." He starts to play, and I go, "That's not right, but I don't know how to tell him it's not right." Finally he goes, "When are you going to tell me what to do?" He said, "This is your music. I know you know how it's supposed to sound. Stop fooling around. We don't have time."
माइल्स डेविस पिछले पाँच या छह साल से संन्यास ले चुके थे और अब वे वापसी कर रहे थे, जिसके लिए वे नए युवाओं की तलाश में थे। किसी ने उन्हें मेरा नाम दिया और उन्होंने मुझे फोन करके कहा, "क्या तुम दो घंटे में कोलंबिया स्टूडियो पहुँच सकते हो?" मैंने मन में सोचा, "अरे भाई, क्या यह सचमुच माइल्स डेविस हैं?" उन्होंने जवाब दिया, "हाँ।" तो मैं पहुँच गया और हाँ, डर तो लगा था, लेकिन संगीत मेरे लिए इतना महत्वपूर्ण था कि वह सारा डर संगीत शुरू होने से पहले ही गायब हो गया था।
Miles Davis had been in retirement for five or six years and he was coming out of retirement and he was looking for young guys. Somebody gave him my name and he called me and said, "Can you show up at Columbia Studios in two hours?" I'm like, "Whoa, is this the real Miles Davis?" He's like, "Yeah." So I showed up and yeah, it was intimidating, but music is so important to me that the intimidation was all before the notes started.
Miles Davis had been in retirement for five or six years and he was coming out of retirement and he was looking for young guys. Somebody gave him my name and he called me and said, "Can you show up at Columbia Studios in two hours?" I'm like, "Whoa, is this the real Miles Davis?" He's like, "Yeah." So I showed up and yeah, it was intimidating, but music is so important to me that the intimidation was all before the notes started.
स्कॉट टिक्सियर एक बेहतरीन और उभरते हुए युवा जैज़ वायलिन वादक हैं जो अंतरराष्ट्रीय स्तर पर अपनी एक अलग पहचान बना रहे हैं। मैंने उन्हें फ्रांस में सुना था और उनके अनोखे अंदाज़ तथा उनकी धुन ने मुझे तुरंत प्रभावित कर दिया था।
Scott Tixier is an exciting young jazz violinist and is making an international name for himself. I heard him in France and was immediately struck by his individuality and his sound.
Scott Tixier is an exciting young jazz violinist and is making an international name for himself. I heard him in France and was immediately struck by his individuality and his sound.
ऐसे कई लोग हैं जिनकी तकनीक बहुत अच्छी होती है, जो बहुत अभ्यास करते हैं और जब आप उन्हें सुनते हैं, तो आपको लगता है, "यार, इस बंदे ने बहुत अभ्यास किया होगा, है ना?" लेकिन फिर जब आप माइल्स डेविस को बजाते हुए सुनते हैं, तो आप कहते हैं, "यार, मेरी भी एक गर्लफ्रेंड ऐसी ही थी।" संगीत की यह समझ बिल्कुल एक अलग ही स्तर की होती है।
There's a lot of guys who have great technique, people practicing a lot and you hear them, but there's not that many people who when you hear them, you go, "Man, that guy must practice a lot," right? Then you hear Miles Davis play, and you go, "Man, I had a girlfriend like that." That's a whole another level of musicianship.
There's a lot of guys who have great technique, people practicing a lot and you hear them, but there's not that many people who when you hear them, you go, "Man, that guy must practice a lot," right? Then you hear Miles Davis play, and you go, "Man, I had a girlfriend like that." That's a whole another level of musicianship.
माइकल जैक्सन को देखना ऐसा था मानो इतिहास का पाठ पढ़ने के साथ-साथ भविष्य की भी एक झलक मिल रही हो। अगर सिर्फ इतना ही काफी न होता, तो माइकल ने अकेले दम पर म्यूज़िक वीडियो की दुनिया ही बदल दी। यह कितनी हैरान करने वाली बात है कि आज करीब पच्चीस साल बाद भी, पॉप म्यूज़िक वीडियो बनाने वाला हर इंसान यह ज़रूरी समझता है कि वह 'बीट इट' गाने में माइकल द्वारा शुरू किए गए 'ग्रुप डांस' जैसे स्टेप्स को अपने वीडियो में ज़रूर शामिल करे। वह इतने प्रभावशाली और अपने समय से बहुत आगे थे।
Watching Michael Jackson was like taking a history lesson and a lesson on the future at the same time. If that weren’t enough, Michael then went and single-handedly revolutionized music videos. It’s amazing that today, some twenty-five years later, everyone who makes a pop music video still feels obligated to include a 'group dance' sequence like the one Michael pioneered in 'Beat It'. That’s how influential and ahead of the times he was.
Watching Michael Jackson was like taking a history lesson and a lesson on the future at the same time. If that weren’t enough, Michael then went and single-handedly revolutionized music videos. It’s amazing that today, some twenty-five years later, everyone who makes a pop music video still feels obligated to include a 'group dance' sequence like the one Michael pioneered in 'Beat It'. That’s how influential and ahead of the times he was.
माइल्स डेविस अपने संगीत से आपके अंदर गहरे भाव जगा सकते हैं। मैं युवा कलाकारों से यही उम्मीद करता हूँ। मैं ऐसे व्यक्ति की तलाश में हूँ जो सिर्फ वाद्य यंत्र पर महारत न रखता हो, बल्कि वास्तव में कुछ ऐसा कह सके जो आपके भीतर भावनाएँ जगा दे, आपको किसी गहरी सोच में डाल दे।
Where Miles Davis can make you feel things.That's what I'm looking for from young guys. I'm looking for somebody who not just has a command of the instrument, but can actually say something to make you feel something, make you think about something.
Where Miles Davis can make you feel things.That's what I'm looking for from young guys. I'm looking for somebody who not just has a command of the instrument, but can actually say something to make you feel something, make you think about something.