"Whether it's string writing or whatever, I try to write for what each instrumentalist can do best"
About this Quote
Mangione’s line is a quiet rebuke to the ego-driven version of composition where instruments are treated like interchangeable paintbrushes for the composer’s “vision.” He’s describing craft as empathy: the job isn’t to force a violin, trumpet, or drummer to prove they can survive your cleverness, but to build a part that lets them sound like the best version of themselves. In a studio culture where time is money and virtuosity can become a competitive sport, “what each instrumentalist can do best” reads like both aesthetic philosophy and practical strategy.
The intent is straightforward: write idiomatically. Strings shouldn’t be asked to mimic brass swagger; brass shouldn’t be written like a sax section; a rhythm player shouldn’t be trapped in deadening precision when their gift is feel. Mangione, coming out of jazz and crossover pop-jazz, is especially sensitive to this. His success depended on musicians who could deliver warmth, clarity, and groove without the friction of parts that fight the body mechanics of the instrument.
The subtext is leadership. He’s positioning the composer/arranger less as a dictator and more as a curator of strengths, someone who knows that “sound” is not just notes but human capability: range, articulation, breath, stamina, touch. It also hints at respect for collaborators as co-authors of the final record. Mangione’s brand of accessible jazz often gets dismissed as smooth, but this sentence reveals the rigor behind that smoothness: polish isn’t simplification, it’s design tuned to real players.
The intent is straightforward: write idiomatically. Strings shouldn’t be asked to mimic brass swagger; brass shouldn’t be written like a sax section; a rhythm player shouldn’t be trapped in deadening precision when their gift is feel. Mangione, coming out of jazz and crossover pop-jazz, is especially sensitive to this. His success depended on musicians who could deliver warmth, clarity, and groove without the friction of parts that fight the body mechanics of the instrument.
The subtext is leadership. He’s positioning the composer/arranger less as a dictator and more as a curator of strengths, someone who knows that “sound” is not just notes but human capability: range, articulation, breath, stamina, touch. It also hints at respect for collaborators as co-authors of the final record. Mangione’s brand of accessible jazz often gets dismissed as smooth, but this sentence reveals the rigor behind that smoothness: polish isn’t simplification, it’s design tuned to real players.
Quote Details
| Topic | Music |
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