Herb Alpert

I don’t think radio is selling records like they used to. They’d hawk the song and hawk the artist and you’d get so excited, you’d stop your car and go into the nearest record store.

I practice every day. I’ve been doing it since I was eight.

I was taken in by the bravado and the sounds of Mexico… not so much the music, but the spirit.

Although there was a point with the Tijuana Brass where we were playing for such huge crowds that I kind of lost contact. At one point, the only connection I had with the audience was with people out there lighting cigarettes.

Instrumental music can spread the international language.

It’s – as opposed to tape where you have a magnetic tape that’s excited by frequencies that you hit, digital was a process where musical sounds are transferred to numbers and stored as numbers.

He has a method that likens the musician to an athlete, so I do physical exercises designed to keep a musician in shape in order to perform the function, which is to play music.

Selfishly, I make music for me. I like to make music. I like looking for songs. I like working with interesting musicians. I like producing records. It’s something I will always do.

The reaction to this album has just been fabulous around the world… and I’ve had offers to perform from around the world and I’m tempted to do it. I’ve got itchy lips.

If you look at a record under a microscope, the high frequencies are short jagged edges… and the low frequencies are long swinging ones are deep bass sounds. When it cut it at half speed, you’re getting more of those on the record.

When I finish an album and I find myself listening to it in the car, because it makes me feel a certain way, that’s the time to try to let other people know about it.

Clifford Brown was in the jazz circles considered to be probably the greatest trumpet player who ever lived.

I’m an old-timer in the business from the sense that when you do something that you feel good about there might be another person out there who feels the same way, or a hundred or a couple million.

This was during a period when I was producing Brazil ’66 records and got infected by Brazilian music.

The Japanese seem to be a loyal audience.

I confess that I listen to my own music for my own pleasure.

Mexican Shuffle was a turning point of the Brass.

It’s very clean. With tape, you get noise.

I wake up in the morning, I do a little stretching exercises, pick up the horn and play.

We finally got our big break when Ed Sullivan put us on his show.

You know, the record business is much different than being artist on stage.

I like to listen to classical music… I like mainline jazz.

There’s something interesting about playing live; you’re in the moment, and I think it would be beneficial.

The trumpet was not a lyrical singing instrument.

We always felt that if you do something with quality and integrity, then it’s going to come back to you.

I like to listed to the adventurous guys – the Coltranes, Miles Davis, the guys who just let it loose.

I’m sure I’ll go back again and record in the digital process.

I find that it’s nice to work with somebody and spin off on someone else’s feelings. You get a little jaded by yourself.