I'm not really on a mission to tell anybody anything. I'd rather be figured out.
When I Look In Your Eyes
Some so-called 'jazz purists' are critical of me using strings instead of just a trio, and I say to that, 'HA! Who cares?'
But the greatest thing about music is putting it out there for people to figure out. You want the listener to find the song on their own. If you give too much away, it takes away from the imagination.
You know, I've sung a lot of emotional songs in my life, but when you're writing it yourself, it's very difficult to decide what to reveal.
That's why these songs have lasted as long as they have because they're just about feelings that don't change. They are love songs, they are not specific, those kinds of feelings don't change.
Well, you know, it's been interesting because an album is just a snapshot of where you are at that time. Not all pictures of everybody are just in jeans and a 'T' shirt, or a ball gown. You have many different sides and this is a snapshot of where you are at that time.
So much of what we do as artists is a combination of personal experience and imagination, and how that all creeps into your work is not so linear.
You're creating an intimacy that everybody feels, that it's their experience, not yours. I'll never introduce a song and say, now this song is about 'my' broken heart.
Sometimes I can't get out of the character because the story is very intense.
There were some things that I found I really enjoyed singing about; like, on the title track, there's this film-noir character of a woman who's sort of losing it in a room.
I like to interpret 'Call me a River', as if I'm saying, 'Now you're telling me you love me after all that, and I'm telling you to shove off.' That's my interpretation. But I would never 'say' that because somebody else might interpret the song in another way.
I love music so much I love what I do. I work very hard at being the best musician I can be because I love it.
I mean, I don't think I would call Claus to do an album of big band tunes. You know, just like arrangers write for the artist they have in mind; you have to keep in mind if you're going to work with Claus Ogerman. You invite him to do what he does.