Scotty and I became good friends. We had an immediate musical rapport that was sensational. We did a lot of listening and talking. Besides technique,… - Clare Fischer

Bill and I were pretty much the same age bracket, and strangely enough, we both went through the same influences, starting with Nat Cole, going into Bud Powell during the bebop period, and then getting into the Lennie Tristano school orienta—in my particular case, Lee Konitz more than Lennie. I mean, in an era when everybody else was playing funky piano, we... I suppose, in a general category, that made us both the same. Whereby [sic] to my mind, we were both radically different. But after I put out that first album, the reviews started off by saying, "Clare Fischer owes much to Bill Evans." And then, when I would write an album, they would say "Clare Fischer owes much to Gil Evans." And I would call that my Evans brothers syndrome.

[M]ost of the pop music out today I consider to have become a homogenized product. It gets to the point that so much of what is going on is copying everything else that is out, because there is a businessman that knows what he has just sold millions of records with, and so he keeps trying to get every group that comes in to do it, you know. You know, you approach somebody who is well known as a booker or manager, and the first remark will be, "I love what you do, but you would have to change this to this, and that to that, and this to this, in order for me to be able to sell it." Well, by the time you've changed that, of course, it's like everything else that is out there. And when Prince first started sending me songs, I thought maybe that by the time I had done four arrangements that I would have started getting some sort of a repetitive something or other. I have been extremely surprised to find that each one is as different from the last as the next one is going to be different. Some of them are like little art songs. Some of them have dealt with heavy things like friendship and death. I mean, death of a friend. And yet, some of them are as baudy as...

I'm gonna take a wild guess—I think that was Buddy DeFranco, and possibly the Glenn Miller Orchestra. The band strikes me as an enigma, in that, first of all, some interesting harmonic things are happening as far as the individual voicings are concerned, but yet it's played in an older, tighter fashion. For instance, the bass player, if there are chord changes happening every two beats, plays the root for two beats, then the next root for two beats—that type of sound. The harmony, especially in the opening part where the theme is established, is a lot more modern than that kind of band would normally sound. I think that they're playing that way to keep that Miller identity, with that rhythmic tightness