Quotes About Jazz

I haven't got a great jazz band and I don't want one. Some of the critics, Down Beat's among them, point their fingers at us and charge us with forsaking real jazz . . . It's all in what you define as 'real jazz.' It happens that to our ears harmony comes first. A dozen colored bands have a better beat than mine. Our band stresses harmony.

My school music teacher, Al Bennest, introduced me to jazz by playing Louis Armstrong's record of "West End Blues" for me. I found more jazz on the radio, and began looking for records. My paper route money, and later, money I earned working after school in a print shop and a butcher shop went toward buying jazz records. I taught myself the alto saxophone and the drums in order to play in my high school dance band.

When I hear the words jazz pianist, that just means I have the skills to do most things. Because to be a jazz pianist, even to be a bad jazz pianist, you have to be pretty good.

Jazz is a music that really allows a person to express his deepest self, his most personal self - Africa being the primary source of jazz. Naturally, improvisation and swing are a part of jazz, improvisation being the key.

There was a time, from 1935-1946, when teenagers and young adults danced to jazz-orientated bands. When jazz orchestras dominated pop charts and when influential clarinettists were household names. This was the swing era.

The black hole in democracy is integrity. The great unspoken is integrity. When integrity is not first and foremost, it's quite palpable but not visible. It's always there. Jazz highlights it because musicians and jazz always represented a high level of integrity.

Jazz is the last refuge of the untalented. Jazz musicians enjoy themselves more than anyone listening to them does.

The humor of jazz is rich and many-sided. Some of it is obvious enough to make a dog laugh. Some is subtle, wry-mouthed, or back-handed. It is by turns bitter, agonized, and grotesque. Even in the hands of white composers it involuntarily reflects the half-forgotten suffering of the negro. Jazz has both white and black elements, and each in some respects has influenced the other. It's recent phase seems to throw the light of the white race's sophistication upon the anguish of the black.

Of course, right away I got more interested in the far-out jazz than the traditional jazz, so I quickly was turned onto the John Zorn scene and all the wild stuff coming out of New York and Europe. Improvising is a pretty natural thing for me.

In the '60s, people were still very protective of each field that they belonged to. Avant-garde artists didn't know about rock or pop or jazz. And the jazz people of course didn't want to know about any other music. They were all just kind of protecting their territory.

Flexibility is an essential part of Jazz. It's what gives Jazz music the ability to combine with all other types of music and not lose its identity.

Robert Altman made that movie Kansas City about the jazz scene in the city, and we saw that band all together, and that was an amazing show. That's what I got into. I like jazz.

I don't want to do free jazz! Because free jazz - which is the musical equivalent of free marketeering - isn't actually free at all. It's just constrained by what your muscles can do.

We all listened to a lot of recorded music, especially American jazz, modern jazz, and that's where our studies were and our inspiration came from.

Jazz needs the help. It's the more sophisticated music. All the other music is on the TV, but jazz isn't.

When a human being is oppressed, the natural tendency is to feel anger. Jazz is a response to oppression that is not bullets and blood. Jazz is the expression of harmony ... and at the same time of hope and freedom.

People who love jazz musicians love us when we play what we want to play and we're starving. But as soon as you commercialize your sound like Wes Montgomery did, the jazz fans and the critics are down on you!

It seems all worlds of music - rock, blues, R&B, soul, hip-hop and others - are able to point to impromptu get-togethers as proud moments in their timelines, encounters that were recorded and created music of lasting impression. In the jazz tradition, there are a few, but none that has been revered for as long as Jazz at Massey Hall.

The aim of jazz is the mechanical reproduction of a regressive moment, a castration symbolism. 'Give up your masculinity, let yourself be castrated,' the eunuchlike sound of the jazz band both mocks and proclaims, 'and you will be rewarded, accepted into a fraternity which shares the mystery of impotence with you, a mystery revealed at the moment of the initiation rite.

I've listened to Jazz since I was born and always knew I'd be a Jazz singer!

To my ears, jazz sounds better in warm weather and after the sun has gone down. While I will listen to some of my favorite jazz records in cooler weather, it's the warmer nights that really make them come alive. Something about those sounds and the heat of the night really makes it happen for me.

Jazz is like a big secret club. The mainstream media doesn't pay any attention to it, it's like 1 percent of the music market - no one cares. Why? Because the majority of jazz is old.

Not according to this," Jazz said, taking the report. "No evidence of sexual activity or anything like it." "Well, there's that," Howie said, sounding relieved. Jazz wondered at that - was it really so much better to be unmolested, but still murdered in a horrible fashion? To die in pain and terror, stripped, left in a field, your fingers cut off? But as long as you weren't raped, well, that was alright, then? Did it really matter at that point?

Jazz took too much discipline. You have to come in at the right place, which is different than me singing the blues, where I can sing, 'Oh, baby,' if there's a pause in the melody. With jazz, you better leave that space open, or put in something real cool.

The only reason is that I hadn't seen The Modern Jazz Quartet perform live and a live performance is often where the real experience of jazz takes place. I'm not familiar with the Boswell Sisters.

I may be prejudiced, but I believe that jazz music has the strongest healing potential, and it's not just because I play it and love it so much. I feel that it's the improvisation in jazz that makes it so strong as a healing tool, what each individual gives to a tune from their heart and their soul when they take a solo. It's all spontaneous, and it's all love, and from the heart.

Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.

Jazz vision for me is seeing my art in musical term. It offers me an visual expressions in an ever-changing musical palette.

Do you think Duke Ellington didn't listen to Debussy? Louis Armstrong loved opera, did you know that? Name me a jazz pianist who wasn't influenced by European music!

Black people invented jazz. But this story [in La La Land] wasn't ever claiming to be that. It's just a story about two people from one writer's point of view.

I feel that I have an obligation to jazz and also to myself to play as good as I can play.

When her muzzle grew more white than brown, the chipmunk forgot that she and the squirrel had had nothing to talk about. She forgot the definition of "jazz" as well and came to think of it as every beautiful thing she had ever failed to appreciate: the taste of warm rain; the smell of a baby; the din of a swollen river, rushing past her tree and onward to infinity.

Through improvisation, jazz teaches you about yourself. And through swing, it teaches you that other people are individuals too. It teaches you how to coordinate with them.

I enjoy playing clubs. I still enjoy the closeness of the nightclub venue. However, after a certain period of time and after playing around some of the clubs in New YorkI felt that jazz should be presented in a more prestigious atmosphere.

A lot of EDM is not bad at all when it's simple, but a lot of it is not really musical. That's just what I really like to do: taking what I had at the beginning, which is classical and jazz influences, and putting it into electro.

I was 16 when I came to New York. I had graduated to a tenor banjo in the school jazz band, and it was kind of boring - just chords, chords, chords. Then my father took me to a mountain music and dance festival in Asheville, North Carolina, and there I saw relatively uneducated people playing great music by ear.

Jazz is not background music.

Sweets [Edison] can say more with one note than any other Jazz player alive... an approach that stresses simplicity, glorious tone, natural potency and an unmatched affinity. He is a unique stylist in our music.

The value of jazz still has to be clarified. People involve themselves with its superficialities without digging for its soul.

Jazz is neither specific repertoire, nor academic exercise... but a way of life.

There is an awful lot of what I call recreational jazz going on, where people go out and learn a particular language or style and become real sharks on somebody else's language.

That mainstream English is essential to our self-preservation is indisputable . . . but it is not necessary to abandon Spoken Soul to master Standard English, any more than it is necessary to abandon English to learn French or to deprecate jazz to appreciate classical music.

I think more than writers, the major influences on me have been European movies, jazz, and Abstract Expressionism.

In 1994, I started touring again and I recorded two albums for Chesky Jazz.

Jazz musicians can be great teachers of business. Their creativity is not dependent on their mood, it does not have to be coaxed out of them, it has nothing to do with the phases of the moon or even how they feel that day. They go on stage and start playing. Being creative is their job.

I listen to all those kinds of music, from classic soul to hip-hop to Brazilian music to, you know, jazz to indie to alternative. So whatever. I listen to all if it. Classic rock and classic pop, all of that.

I do modern jazz and contemporary combined. I like to feel strong, flexible, and so there is stretching involved.

I just got to hear every note. After I left Birdland, I started working at the Jazz Gallery. In the end, I still couldn't play, but I knew how to listen. I was probably the world's best listener.