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I am touring in Europe. I am putting together a trio and a quartet. I am playing solo concerts with my symphonic sounds. I am very much engaged back to playing and recording and everything.
I mean, I really, really love playing solo. Definitely, it's like a labor of love, it's not a huge career. It's not that successful, but it's something I love so much that I'll do it regardless.
I like lots of songs, and I find it quite interesting to do [cover songs] from time to time. My first solo hit was in 1973, the Dylan song “A Hard Rain’s Gonna Fall.”
Around New York, our group had become known as 'Dee Dee and her girls' because we were used on everything, so going out on a solo career wasn't as much a big deal to me.
I've always loved playing solo. I guess in a way I just feel blessed to be able to make music. My favorite thing is usually whatever I'm doing right there and then.
My solo albums were each like a half-finished puzzle; they represented only the beginning of a full picture. Simply put, they were inadequate and incomplete.
I've won a lot of times with my wife and son here, and I've won solo. I don't think there's a formula for when the come out and when they don't I'm simply happy to win.
I definitely have to give myself permission, like on "Master Swarm," to rip a lead on that. Just play a violin solo that's - it's a bit showoff-y, but it's fun, so who cares?
The nice thing about solo is I don't have to coordinate with anyone else's schedule, since it's hard for me just to have a free 15 minutes here and there.
I had opportunities to play with other people and give my self some sort of security, but for some reason I wanted to play solo and just put it out there.
I enjoy making solo albums because over the years it's evolved into more of a genuine personal expression of story-telling and day dreams, and I work in a way that has more control.
At a label, you are confined to the team you have, but I did all my solo work myself, and that makes you more agile and able to go into weirder corners.
Louis Armstrong is the master of the jazz solo. He became the beacon, the light in the tower, that helped the rest of us navigate the tricky waters of jazz improvisation.