It takes us about four or five days to get an album out.

Meaning of the quote

This quote means that it takes Buddy Rich and his team around 4 or 5 days to complete and release a new music album. They have to work quickly to record all the songs, mix the audio, and get the album ready for people to listen to. It's a lot of work, but they can do it in less than a week.

About Buddy Rich

Buddy Rich was a legendary American jazz drummer and bandleader known for his virtuoso technique, power, and speed. He began drumming at the age of two and went on to lead his own big band, recording a big-band style arrangement of songs from West Side Story in 1966. Despite his commercial success and musical talent, Rich never learned how to read sheet music, relying on his uncanny photographic memory.

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More quotes from Buddy Rich

It takes us about four or five days to get an album out.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

I can’t sit down long enough to absorb any kind of learning.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

I think the drummer should sit back there and play some drums, and never mind about the tunes. Just get up there and wail behind whoever is sitting up there playing the solo. And this is what is lacking, definitely lacking in music today.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

Well, I never really practiced because I never had the opportunity to practice.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

I think it’s a fallacy that the harder you practice the better you get.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

I can think of a lot better things to do with my hands than to cut them up on the rim of a drum.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

To have everything written for you… It’s not really creating. That’s why I think symphony drummers are so limited. They ‘re limited to exactly what was played a hundred years before them by a thousand other drummers.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

But primarily, the drummer’s supposed to sit back there and swing the band.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

But, I don’t think any arranger should ever write a drum part for a drummer because if a drummer can’t create his own Interpretation of the chart and he plays everything that’s written, he becomes mechanical; he has no freedom.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

But, when you have to resort to turntables, trick lights, flashing lights, fire and all that, you’re actually saying, I need this because what I do is not all that together.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

I mean, I think I liked every band I ever played in because each band was different, each band had a different concept, and each band leader was different… different personalities and musical tastes.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

So, practice, particularly after you’ve attained a job, any kind of job, like playing with a four piece band, that’s… an opportunity to develop.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

And, you know, I think the original recording of Ravel’s Bolero, probably whoever played percussion on that, will never have It played better than that.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

Almost everything I’ve done, I’ve done through my own creativity. I don’t think I ever had to listen to anyone else to learn how to play drums. I wish I could say that for about ten thousand other drummers.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

Every drummer that had a name, had a name because of his individual playing. He didn’t sound like anybody else, So everybody that I ever listened to, in some form, influenced my taste.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

There were so many individual styles thirty or forty years ago.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

You only get better by playing.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

But I think that any young drummer starting out today should get himself a great teacher and learn all there is to know about the instrument that he wants to play.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

So, to come In with a set routine it’s something I’ve never believed in. It should depend on how you feel, because you play what you feel.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

If he’s a true symphony artist, he knows better than that because he knows that the only truly creative musician is the jazz musician.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

I play a percussion instrument, not a musical saw; it needs no amplification. Where it’s needed, they put a microphone in front of the bass drum. But, I don’t think it’s necessary to play that way every night.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

They’re simply following what was laid down in front and they play the same thing. So, there’s no great challenge In being a classical drummer.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

I think at one time every drummer wanted to play like Krupa or wanted to win a Gene Krupa drum contest. This is the big inspiration for drummers and naturally it has to be the same way for me.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

And, well of course, Count Basie, and I think all of the black bands of the late thirties and early forties, bands with real players. They had an influence on everybody, not just drummers.

Buddy Rich

American jazz drummer and bandleader (1917-1987)

I consider every drummer that ever played before me an influence, in every way.

Buddy Rich

American jazz drummer and bandleader (1917-1987)