By Daniel Hill
By Roy Kasten
By Kris Wernowsky
By Chaz Kangas
By Joseph Hess
By Julie Seabaugh
By Mike Appelstein
By Rachel Brodsky
You can play to your strengths, but sometimes you have to go against that.
I think that's true. You know it, but everybody else knows it too. When people buy your records or go to your shows, you're in a compact that you're going to do something new. I don't like the idea that you can just skip a whole record because it sounds the same as the last. I feel that way sometimes about artists, and I know the reason. I hear a song, and it sounds the same as the last. So I'm sure if I listen to it a bunch I would probably love it, but I don't feel the need to do that.
How many things could go wrong enlisting horn sections for shows in every town?
We'll see. My sound guy is patient, and my bass player Zach [Hickman] is the music director, and he's good and patient. You get all kinds of submissions. You get tap dancers...clarinets, anything you could imagine. I'm optimistic.