Quotes About Jazz

Jazz is an endless source of ideas, because you can use anything. You can play operatic arias. You can incorporate them into jazz. You can play gypsy music and incorporate it into jazz. You can European classical and you can incorporate it into jazz. You can use anything and jazz it up, as they used to say.

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.

We're [with Robbie Robertson ] jazz musicians. The context may be rock 'n' roll but it's still jazz. It's jazz and that means improvization...you play a tune the way it feels and you play it differently every time. It can never be the same.

I have to admit that more and more lately, the whole idea of jazz as an idiom is one that I've completely rejected. I just don't see it as an idiomatic thing any more...To me, if jazz is anything, it's a process, and maybe a verb, but it's not a thing. It's a form that demands that you bring to it things athat are valuable to you, that are personal to you. That, for me, is a pretty serious distinction that doesn't have anything to do with blues, or swing, or any of these other things that tend to be listed as essentials in order for music to be jazz with a capital J.

I used to hang out a lot in jazz clubs, and the groups took to a kid like me who wasn't afraid to get up and sing with a jazz band. Then I started to hang out in rock clubs and learned to carry off different styles.

I was very lucky, because when I was at school, I had a great music teacher who would just take out these free-jazz records and play them for me. So it was in my early teens that I started to listen to jazz.

Jazz stopped being creative in the early '80s. After your acoustic era, where you had the likes of the Miles Davis Quintet, when it gets to the '70s it started being jazz fusion where you had more electronic stuff happening, then in the '80s they started trying to bring back the acoustic stuff, like Branford Marsalis and the Wynton Marsalis & Eric Clapton sextet. It started dying down from there. Miles was still around in the '80s and he was still being creative; he was playing Michael Jackson songs and changing sounds, but a lot of people were still trying to regurgitate the old stuff.

So I went into jazz and performed in jazz clubs all over the country.

To say that the Afro American created jazz doesn't mean anything bad about Anglo Americans, and I always teach my younger jazz musicians that at this point the entirety of the American tradition is your heritage, and you need to know it.

I was interested in the ways that artists responded to totalitarianism - the Czech Jazz Section, Romanian absurdist theatre, Brecht's alienation effect. The anything-goes, anarchic qualities of jazz and Surrealism seemed to offer a way to cross some of the forbidden frontiers of Eastern Europe.

Negro music has touched America because it is the melody of the soul joined with the rhythm of the machine. It is in two part time; tears in the heart; movement of the legs, torso arms and head. The music of the era of construction; innovating. It floods the body and heart; it floods the USA and its floods the world. The jazz is more advanced than the architecture. If architecture were at the point reached by jazz, it would be an incredible spectacle.

Nobody knows where jazz is going, because nobody has ever known where jazz was going. I mean, you couldn't possibly predict the Swing Era from the '20's or bebop from the Swing Era or Avant-garde from Bebop, or Effusion, or on and on and on. So, we don't really know where it's going.

If you want the film [La La Land ] to represent all things jazz, it does not. You'll be disappointed by that. But, if you just see it as one guy's point of view, one filmmaker's point of view, and one story among many stories that can be told about jazz, then it's not as much of an issue.

I have a fondness for jazz, particularly for jazz singers, Billie Holiday and Ella Fitzgerald all the way through the Sinatra era.

I'm not a jazz singer, blues singer or country singer. I'm a singer that can sing rhythm & blues, that can sing jazz, that can sing country. There's a big difference. In other words, I'm not a specialist.

I listen to jazz mainly. Mainstream jazz.

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.

At Carnegie Hall the Preservation Hall Jazz Band showed how easily it could hop from era to era. It could work like a rhythm-and-blues horn section or a tightly arranged little big band if need be, but it could also switch back into the polyphonic glories of vintage New Orleans jazz, in which nearly every instrument seems to improvise around the tune at the same time.

I find that jazz loosens up the deep place of my mind, lets me find my own strange rhythms. Generally, I find the knottier the jazz, the better. Anything with singing is a distraction. Listening to classical music tends to have the unconscious effect of making my writing too smooth.

Louis Armstrong is the master of the jazz solo. He became the beacon, the light in the tower, that helped the rest of us navigate the tricky waters of jazz improvisation.

As jazz fans, it was amusing for us to play jazz harmonies on these big, ugly electric guitars.

The history of jazz for the last 45 years has come through the Monterey Jazz Festival stages. I think there's developed a legacy and an aura around the festival.

Around middle school I studied jazz guitar and ended up playing in a jazz band for a bit. But, after high school, I haven't even touched a guitar.

Shook is the musical universe I created. I come from a classical and jazz background and my father is a jazz pianist, so my world bears largely the marks of this influence. As a sort of gateway, I started composing my own music on the computer at the age of 13. Before Shook, I had not yet discovered the kind of music I wanted to dedicate myself to, so I did a little of everything.

My dad was a jazz fan and he used to have lots of old 78s, so I grew up with big jazz bands and the likes of Duke Ellington and Count Basie - although I really liked show tunes from those big musicals as well. I've always kept my ears open, as it were, when it comes to music. It doesn't matter to me what type of music it is. If I like it, I'll listen to it.

My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.

When I was nine years old, I started playing guitar, and I took classical guitar lessons and studied music theory. And played jazz for a while. And then when I was around fourteen years old, I discovered punk rock. And so I then tried to unlearn everything I had learned in classical music and jazz so I could play in punk rock bands.

I have seen great jazz musicians die obscure and drinking themselves to death and not really being able to get any work and working in small, funky jazz clubs.

I don't listen to a lot of music when I have my free time. But I'll go to a jazz club and have a drink and listen to a good jazz musician. Or sometimes in the morning, if I want to put myself in a good mood, I'll put on some Latin music.

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.

Girls liking bad boys is the cookie jar complex. When somebody tells you you can't have a cookie, you want a cookie. But I live in a bad-boy world, artistically. All the jazz boys are bad boys.

I've sort of realized there's a definite pattern to my output at this point: there's an album that everybody sort of loves, that's a real balance between the old and new, like The Dreamer or No Beginning No End, like a blend of jazz and hip-hop, or r&b and soul and hip-hop.

I started in New Orleans music and played all through the history of jazz.

I have been influenced by the greatest artists in jazz, pop, reggae, traditional, ballards, pop, and all types of music, taking the best from each to represent my own personality. Whitney Houston, George Michaels, Sade, Phil Collins, and many others have influenced me.

I think we are in the midst of this period where we are committing this suicide on the planet and everybody is just using up all of our natural resources like a bunch of insane people. That's what I worry about more than I worry about jazz.

I listen to all kinds of songs. There's something to be learned from every type of music and from the one making it, whether it's pop or jazz or hip-hop.

Jazz is not the format where I want to stay, but it really is a starting point for me.

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.

In Europe they look upon jazz as art. In America it's a diversion. Somebody opens a restaurant and installs another band off to the side. People don't listen.

People have taken time out of their day and spent their money to come sit down at a concert. And it's jazz music-it's not easy for them to get to it. I don't want them ever to feel that I'm taking their presence lightly.

Jazz isn't dead. It just smells funny.

[On Lisa Kudrow:] She's like the best kind of jazz there is. You don't know what note she's going to hit and it's always a surprise.

We created the spirituals. We created so much great music, jazz chief amongst our innovations, teaching us how to prize ourselves and how to speak to one another, that our kids don't know that achievement, there's no way in the world that could be good for us.

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.

The reason why the music [jazz] is important is because it's an art form-an ancient art form-that takes in the mythology of our people.

Blues is like the roux in a gumbo. People ask me if jazz always has the blues in it. I say, if it sounds good it does.