Quotes About Jazz

Jazz is smooth and cool. Jazz is rage. Jazz flows like water. Jazz never seems to begin or end. Jazz isn't methodical, but jazz isn't messy either. Jazz is a conversation, a give and take. Jazz is the connection and communication between musicians. Jazz is abandon.

The Schnauzer listens to jazz. I listen to jazz because he likes it, and I have even gone to jazz concerts with him, but truthfully I would rather listen to retarded children pounding on pan lids with wooden spoons.

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.

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.

I was considered as a jazz man rather than as a blues player. There were no blues players-you played one sort of jazz of another sort of jazz.

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

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.

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.

I have always been a person who is concerned with the dignity of jazz music and the way jazz musicians have been treated and are treated, and the fact that the music has not been given the kind of due that it deserves.

I really like the complexity of jazz, the emotional depth; I feel like there's no other music that's really as satisfying as jazz.

The hardest thing about being a young musician on the jazz scene is that there are so many styles of music, jazz and otherwise, that you're exposed to. The challenge is to use all that in your own way, to personalize all that has come before you and all that is happening around you. To get the music the way you want it, there's a lot of work involved.

I don't play the traditional Charlie Parker songs. But I do improvise and I do create with my instrument, and that to me is jazz. But there are people who use the word 'jazz' only in a traditional sense, and they would be offended by that, and that's fine.

Jazz, of course, is our heritage. Jazz is a culture, it's not a fad. It's up to us to see to it that it stays alive.

When jazz is played in another nation, it is called American. When it is played in another country, it sounds false. Jazz is the result of the energy stored up in America.

In World War II, jazz absolutely was the music of freedom, and then in the Cold War, behind the Iron Curtain, same thing. It was all underground, but they needed the food of freedom that jazz offered.

There are great jazz educators that I meet all the time. I met a guy named Paul Luchessi who has a high school jazz program in Fresno. And Bob Athayde who runs a junior high program in Lafayette, California. And man, we walked into these schools and Paul Luchessi said, "Jon is the composer of Paradox." A hundred or something kids started to applaud. "What? You guys know that? I'm so blown away.

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.

I'd actually been making my living as an organist with bands since I was probably 15 or 16 years old, and then as a senior in high school I put together a jazz quintet called The Bobby Mack Jazz Quintet.

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.

To jazz, or not to jazz, there is no question!

Introvert conversations are like jazz, where each player gets to solo for a nice stretch before the other player comes in and does his solo. And like jazz, once we get going, we can play all night. Extrovert conversations are more like tennis matches, where thoughts are batted back and forth, and players need to be ready to respond. Introverts get winded pretty quickly.

I'd much prefer to hear somebody like Ed Thigpen [drummer with New York session group Stuff, and featured on innumerable hits] take a solo. I mean, that's what it is. I'd much rather hear that than the jazz/rock thing because it's blowing an aspect of jazz that I really like...the level where you can snap your fingers to it and you can groove to it. You can do anything to it.

I think we're an inspiration to young people, to know they can be honest and not run away from influences that are not jazz. We're definitely breeding a new wave of jazz, for real.

I do ballet and pointe work. I also do tap, commercial jazz and technical jazz, freestyle street dancing.

As long as there is democracy, there will be people wanting to play jazz because nothing else will ever so perfectly capture the democratic process in sound. Jazz means working things out musically with other people. You have to listen to other musicians and play with them even if you don't agree with what they're playing. It teaches you the very opposite of racism and anti-Semitism. It teaches you that the world is big enough to accommodate us all.

I love jazz. I still do. Dave Brubeck and Stan Getz are so good. I took a notification course in Jazz Orchestration. It wasn't a grandiose as you'd think but I did have to to go to Los Angeles to do it and get an understanding of the keyboard because the keyboard became my tool and I used it a lot in transposing and composing. All the flats and time values. I spent a year doing that because in those days you had to be able to write your own music and read sheets.

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.

Jazz is not just music, it's a way of life, it's a way of being, a way of thinking. . . . the new inventive phrases we make up to describe things - all that to me is jazz just as much as the music we play.

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'm a jazz musician by education and vocation, but I don't think jazz should [ dictate] what I want to do.

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.

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.

It is Jazz's very nature to change, to develop & adapt to the circumstances of its environment.

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.

The people know more about [Jazz] in other countries than in America. America is the last country to know about anything, because we're too fat, we have too much of everything, you understand? And we do not listen.

With rock music, the amount of power that you can generate, the intensity behind the intentions of your lyrics that you can really reflect through rock music - you can't do that in jazz. You can't do that with classical.

I feel like certain people think that certain styles of music will taint their jazz style.

Everybody has the blues. Everybody longs for meaning. Everybody needs to love and be loved. Everybody needs to clap hands and be happy. Everybody longs for faith. In music, especially this broad category called jazz, there is a stepping-stone to all of these.

Jazz is restless. It won't stay put & it never will.

I used to be a jazz snob, believe it or not. I sort of turned my nose up at anything more commercial.

Visually I've always liked the 20s 30s for film. I do these because I like the music. I like the clothes. I like the way the women and the guys look. There are soldiers and sailors and gangsters with the machine guns in their violin cases. It's a very colorful era of New York, full of great theater and great nightclubs and great jazz.

I play in a jazz sextet. So I don't have time to do a lot of conventions. The good thing is, when I do them, it does puts me back in touch with the people who go to movies. I do these shows just to stay in touch with them.

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

Jazz is a democratic musical form. We take our respective instruments & collectively create a thing of beauty.

My D'Angelico is a jazz archtop guitar. That guitar was made for Glenn Miller's guitar player in 1939. It's a '39 D'Angelico New Yorker.

I think if it wasn't for the blues, there wouldn't be no jazz.

I have no illusions about being a genius musician. I pride myself on being a soldier, a warrior for jazz. I trained a lot of young people, and I've learned my lessons well. I'd like to keep the flame burning.

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