Jazz Quotes
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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 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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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 like to go hear jazz late-night up in Harlem.
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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.
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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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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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If it wasn't for hustlers, gangsters & gamblers there'd be no Jazz. Wasn't middle~class who said Let's go hear Bird tonight.
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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 think I was supposed to play jazz.
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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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Jazz is the art of thinking out loud.
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One thing about playing the real jazz is that you can't count it.
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If you have to ask what jazz is, you'll never know.
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People said I'd never make 35, then I'd never make 40, 45; now I'm almost 50, so Im beginning to think maybe they might be wrong.
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Jazz vision for me is seeing my art in musical term. It offers me an visual expressions in an ever-changing musical palette.
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In 1962 I wrote for 'Jazz News,' using the pseudonym Manfred Manne, which I picked because of a jazz drummer with that name. I later dropped the 'e.'
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A lot of times, we look at jazz in eras. How can we not keep those eras separate and think of the language as one complete continuum? It's all interrelated, and it's all evolutionary.
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I wanted to keep pushing the musical ideas I had about jazz, music from Africa and the Caribbean.
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Some people try to get very philosophical and cerebral about what they're trying to say with jazz. You don't need any prologues, you just play.
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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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I never gave up on that idea, you know, that jazz musicians have the same opportunity as everybody else and that it's what you put on that record that makes the difference whether you sell it or not or are able to get it into people's households.
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I used to sing in jazz clubs with a friend until she went another way.
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In the '70s... there were rock players, and there were jazz players.
