Jazz Quotes
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Jazz has been such a force in music, that any musician, including classical composers, have been influenced, and obviously performers, also.
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I have two main bass guitars, and my main bass is a four-string 1964 Fender Jazz, and I've named it Justine.
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I always had this childhood image in the back of my mind of this fantastic place where all the things I liked came from; Orson Welles, jazz, all that stuff. Los Angeles is one of those places where somebodies become nobodies and nobodies become somebody.
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I'm not saying that in order to be a great jazz musician you have to be a great classical pianist first. But I am saying that it makes things easier when you can get around the instrument, and you have some idea of how to approach the various hurdles.
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Jazz is progressive, and it's alive.
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You not only have to know your own instrument, you must know the others and how to back them up at all times. That's jazz.
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I started with ballet, and once I started to really like it, I got into more - I did jazz and tap, and then kept going.
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I really want to bring ensemble playing back to the forefront - not just for me, but for everyone in jazz. When you have a group, a true co-op group, you can really heighten the possibilities of all the treasures of jazz.
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I like to go hear jazz late-night up in Harlem.
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Jazz is the art of thinking out loud.
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As I've gotten older, my love for jazz has increased.
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I learned jazz; that comes from blues. I learned rock; that comes from blues. I learned pop; that comes from blues. Even dance, that comes from blues, with the answer-and-response.
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Even though I left for a year, I grew here as a Jazz man. If I'm fortunate enough to go into the Hall of Fame, I will go as a Jazz man.
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Too many jazz pianists limit themselves to a personal style, a trademark, so to speak. They confine themselves to one type of playing.
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I can show you that I have played with just about every jazz musician, every African musician, every blues musician. It's not like I'm cashing in on a false concept. This is what I do.
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If you ask me, rockabilly has had a raw deal for far too long. People never shunned the blues or jazz the way they do rockabilly. But it's the original punk-rock, and it changed the way people looked at music for ever.
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When I read the script and saw the jazz music setting, and when I read the name of the filmmaker was Damien Chazelle, I immediately got this mental image of Antoine Fuqua.
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Jazz is known all over the world as an American musical art form and that's it. No America, no jazz. I've seen people try to connect it to other countries, for instance to Africa, but it doesn't have a damn thing to do with Africa.
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I actually find a lot of parallels in jazz and cartooning.
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If you have to ask what jazz is, you'll never know.
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In Malaysia, we have a lot of divas, like Whitney Houston, Mariah Carey singers. And they were all so so talented, just very talented. For example, there's this one jazz singer, her name is Sheila Majid, and I was always singing her songs.
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My grandfather, Arthur Baskerville, he played and still plays a little bit piano and trombone, and so when I was a kid, I always heard jazz around the house, but I also went to his gigs, whether it be a Saturday brunch in my hometown Columbus, Ohio. We'd go and hear him play with some of the local musicians.
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I grew up around jazz. I love jazz.
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Certainly one of the more common experiences in the jazz field is discovering someone new. Improvising musicians are capable of being musical travelers, voyagers. We want to join in on whatever we hear. There is a freedom to wander the musical landscape.
