"I like to work with artists who are as wide in their musical taste as I am"
About this Quote
Collaboration, for Jim Sullivan, isn’t a networking strategy; it’s a taste test. “As wide in their musical taste as I am” reads like a compliment, but it’s also a quiet gate: he’s not looking for virtuosity in a single lane, he’s looking for curiosity as a character trait. The line flatters openness while warning against the kind of musician who treats genre like a border checkpoint.
The phrasing matters. He doesn’t say “open-minded” or “versatile” - words that can mean “will play anything for the gig.” He says “wide in their musical taste,” putting listening ahead of résumé. That’s an artist’s tell: the studio is imagined less as a workplace and more as an ongoing education, where influences collide and produce new grammar. The intent is practical, too. Wide taste usually means fewer precious rules: less fear of “wrong” chords, “uncool” references, or borrowing a rhythm from somewhere you weren’t “supposed” to.
Subtextually, it’s a soft critique of purism. In pop and rock history, the most exciting leaps come from people who steal shamelessly and lovingly - from blues into psychedelia, from folk into electronic textures, from gospel into stadium hooks. Sullivan’s line aligns him with that tradition: genre as palette, not identity.
Context is also industry-facing. In an era of algorithmic niching and brand-driven “authenticity,” insisting on breadth is a refusal to be optimized. It’s a way of saying: I want collaborators who bring references I don’t already have, and who won’t panic when the song asks to become something else.
The phrasing matters. He doesn’t say “open-minded” or “versatile” - words that can mean “will play anything for the gig.” He says “wide in their musical taste,” putting listening ahead of résumé. That’s an artist’s tell: the studio is imagined less as a workplace and more as an ongoing education, where influences collide and produce new grammar. The intent is practical, too. Wide taste usually means fewer precious rules: less fear of “wrong” chords, “uncool” references, or borrowing a rhythm from somewhere you weren’t “supposed” to.
Subtextually, it’s a soft critique of purism. In pop and rock history, the most exciting leaps come from people who steal shamelessly and lovingly - from blues into psychedelia, from folk into electronic textures, from gospel into stadium hooks. Sullivan’s line aligns him with that tradition: genre as palette, not identity.
Context is also industry-facing. In an era of algorithmic niching and brand-driven “authenticity,” insisting on breadth is a refusal to be optimized. It’s a way of saying: I want collaborators who bring references I don’t already have, and who won’t panic when the song asks to become something else.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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