Skitch Henderson

“Well, in our business, it's a very tough profession.”

“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.”

“Do, What you're going to do in longevity. Not just what happens tomorrow.”

“Well, I worked with lots of different artists, of course.”

“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.”

“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.”

“I listen to everything.”

“I started off as a studio pianist in Hollywood.”

“Symphonic orchestras have almost become a glut in the market.”

“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've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.”

“I grew up on film scores and scores from films.”

“And then I went into television; and then television moved from the East Coast to Hollywood.”

“I recorded with Sinatra, but the recording business is a very strange strata right now.”

“In a way, yes, because I was starting something fresh, and it was something totally independent.”

“I had had a classical education prior to that.”

“I also work with the regular orchestras in Munich, Germany and other similar orchestras.”

“But I listen to everything, I listen to all artists that come along.”

“If you don't operate it as a business, you aren't going to be around very long.”