Quotes About Jazz

I would not describe myself as an avid jazz fan and I am not a jazz musician myself. However, that is not to say that jazz does not play a vital and important role in my life.

The Ertegun Jazz Hall of Fame will provide a center where the lives and the artistry of the greatest jazz musicians will be celebrated, and where people will come to learn about jazz, something to which my brother devoted his lifes work.

Jazz was always cool. That was what I liked about jazz - it was always cool. Now I see the cats that were basically cool getting kind of uncool. So that ruins what I feel about jazz.

I don't like heroin, unless you're a jazz musician and then you have to be on it because jazz is the sound of heroin.

If anybody was Mr. Jazz it was Louis Armstrong. He was the epitome of jazz and always will be. He is what I call an American standard, an American original. ... I merely took the energy it takes to pout and wrote some blues. ... I don't need time, I need a deadline. ...There are two kinds of music. Good music, and the other kind. ... Music is my mistress, and she plays second fiddle to no one.

I like musicians who look at the public. You have to bring the music to the largest number. Otherwise, we'll [the Jazz players] stay in the clubs. Jazz must be accessible to everyone.

[Manhattan School Of Music] didn't' have a jazz undergraduate program at the time so I played a semester in the big band. There was a graduate program. But I wasn't really that involved in jazz yet.

A lot of people in the jazz community are looking at how much notoriety we're getting. And we're an inspiration to a lot of young people, because now there's something new they can aim for that's in their grasp. Because a lot of times when you attend a jazz college it's all about the history, none of the teachers there are forward-thinking, for the most part, so they don't teach you how to be yourself and embrace the music around you.

I've played drums since I was 15. My sisters and I all played instruments. I kind of started with piano and then I actually played saxophone with a jazz band in middle school. So, any knowledge I had of jazz music was from playing alto-sax back then.

Jazz isn't as profitable for labels like Hip hop or Rap. Jazz needs subsidies to continue, just like European classical works of Bach and Beethoven are subsidized.

I have learned a lot from jazz. I compare good acting to jazz music. The more you study and prepare as an actor, the more equipped you are to live in the moment. Just like the gifted musicians in my dad's quartet, it takes a courageous actor to be free.

Jazz presumes that it would be nice if the four of us-simpatico dudes that we are-while playing this complicated song together, might somehow be free and autonomous as well. Tragically, this never quite works out. At best, we can only be free one or two at a time-while the other dudes hold onto the wire. Which is not to say that no one has tried to dispense with wires. Many have, and sometimes it works-but it doesn't feel like jazz when it does. The music simply drifts away into the stratosphere of formal dialectic, beyond our social concerns.

In those days before hearing Charlie Parker and Dizzy, and before learning of the so-called bebop era--by the way, I have some thoughts about that word, "bebop"--my first jazz hero ever, jazz improvisor hero, was Lester Young. I was a big "Lester Young-oholic," and all of my buddies were Lester Young-oholics. We'd get together and dissect, analyze, discuss, and listen to Lester Young's solos for hours and hours and hours. He was our god.

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.

'Jazz Artist of the Century' would have to be a distinctive soloist and ensemble player, a composer, an arranger, a bandleader, and a driver; would have to span all the genres and periods of jazz; would have to have run her own label; [would] possess a deep spirituality, with grace and a sense of humor; and would have to have succeeded against all odds. Who else? Mary Lou Williams.

The basic difference between classical music and jazz is that in the former the music is always graver than its performance - whereas the way jazz is performed is always more important than what is being played.

There are a few things that I will hopefully be credited for as a pioneer. One is my four-mallet playing. Another one is the starting what was first called jazz rock in 1967 when I started my first band, later became jazz fusion by the 1970s.

I've been YouTube surfing a lot lately so I'll Shazam a song that I find or some s - - and type that in on YouTube and just go through all the relateds for it. So it's been a lot of random jazz s - - lately. Like I found Lonnie Liston Smith, and Ahmad Jamal, s - - like that. So that's been very tight.

I was in every band class I could get in, like after school jazz band and marching band, and that's where I really learned to read music from elementary all the way through junior high and high school.

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

Jazz is the big brother of Revolution. Revolution follows it around.

I became a jazz fan quite early and never went off the path thereafter.

What I've been trying to do for years is to get the music played on a station other than jazz stations, you know, to expand the audience.

People always ask, "Why jazz?" and I'm like "Why not?" It's kind of like asking Seurat, "Why so many dots?" I imagine if you asked Bjork, "Why the Tibetan bells?" She'd probably be like "That's just what I heard." It's the same thing. This is just the way I see music.

If you play the very subtle jazz tunes with acoustic pianos, acoustic bass and it's a dead standard, you are going to play very differently. It depends on the music.

I always say that you should just listen to it and see what you think it sounds like it is. I don't think it should be labeled. Most musicians feel like that. No one wants to put their music in a category. But, I don't think it's all over the place. I don't go from metal to jazz, or anything crazy.

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.

There are 100,000 total marijuana smokers in the US, and most are Negroes, Hispanics, Filipinos and entertainers. Their Satanic music, jazz and swing, result from marijuana usage. This marijuana causes white women to seek sexual relations with Negroes, entertainers and any others.

My novels and poems are meant to be read aloud. That's why jazz musicians have been able to adapt my stuff.

If the average jazz artist uses his head and at the outset of his career realizes he won't play as well at fifty as he does at twenty-five, he won't be in a line-up outside the Salvation Army when he's fifty.

I took several years of dance lessons that included ballet, tap and jazz. They helped a great deal with body control, balance, a sense of rhythm, and timing.

As for music, my tastes are eclectic. Elvis Costello is my all-time favorite. I listen to a lot of jazz, primarily the great female vocalists, and I am very fond of the late cabaret singer Nancy Lamott.

Jazz to me is a living music.

I was never that big a rock-and-roll, rock guy. I really preferred jazz, you know, that kind of thing.

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.

Jazz is the continual pulsation of the now.

I think that band [Glenn Miller] was the beginning of the end. It was a mechanized version of what they called jazz music. I still can't stand to listen to it.

I have learned as much about writing about my people by listening to blues and jazz and spirituals as I have by reading novels.

There used to be a club in new york called Bradley's - I've never been there, it closed in the 80's - but I used to study with Junior Mance, and he would tell me about Bradley's. It was a very important place for a generation of jazz musicians in New York. It was really all about pianists there.

[Jazz singing] is like pornography. You can't say what it is, but you know it when you see it.

As long as there are people trying to play music in a sincere way, there will be Jazz.

I write pop songs. But I think it is sprinkled with a lot of counter-culture references. It ranged from rap to hip hop to trip hop, house, drum and bass, and experimental and improv and jazz.

I don't worry too much about the fundamentalist principles that are in almost any discussion about Jazz.

I hate Stanley Clark, but I have to admit he's playing Jazz whether I like it or not.

My main influences have always been the classic jazz players who sang, like Louis Armstrong and Nat King Cole and Jack Teagarden.

I understand that there are forms of entertainment that can make people weep or jazz them up so they feel like they have had an experience. But I also know that an hour later that's faded and you are back to the difficult realities of your own life. And we need to help people know how to go beyond those difficulties to a place where God dwells.

What I love about Sonny's playing is that he is so inventive within the mainstream Jazz vernacular. Because he knows so many ways to deal with musical material, he is never repetitive and hasn't had to invent a new language. Also, he never asked me to do anything but swing!

His musical inspiration operates in a world uncluttered by conventional bar lines, conventional chord changes, and conventional ways of blowing or fingering a saxophone. Such practical 'limitations' did not even have to be overcome in his music; they somehow never existed for him. Despite this - or more accurately, because of this - his playing has a deep inner logic. Not an obvious surface logic, it is based on subtleties of reaction, subtleties of timing and color that are, I think, quite new to jazz - at least they have never appeared in so pure and direct a form.