I worked with practically everybody in the business in all of the years in NBC, but I worked personally many years with people like Crosby and Sinatra, so of course that was a great ground school for me.
While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.
I recorded with Sinatra, but the recording business is a very strange strata right now.
If you don't operate it as a business, you aren't going to be around very long.
We try to say it's creative and in a manner it is creative, but it is a business, because today, with the cost factor in crossing the boundaries that you do.
Well, in our business, it's a very tough profession.
I think my favorite experience is whatever I'm doing now.
We do a lot of light classical programming with that, too... obviously... a lot of Tchaikovsky music, Grieg, things like that which have become less classical with classical concerts.
I had had a classical education prior to that.
I also work with the regular orchestras in Munich, Germany and other similar orchestras.
Although we are being presented in Carnegie Hall, we have to furnish a budget for our guest stars, and for the music writing - which is a huge budget in any orchestra that plays popular music.
That was probably the stamp that went into my mind, because I worked in television for many years, doing that kind of music, so that really was my strong forte.