Jazz Quotes
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Jazz music is as American as it gets, and so is the U.S. Postal Service. A Miles Davis stamp is a perfect marriage of two great American institutions.
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I love dancing, actually. My mother taught children's dance, ballet, tap, jazz...I'm very flexible.
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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.
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My favorite type of music to sing to would be rock and roll, Tenacious D, Led Zeppelin, some Queen - I love all of them. I love singing to them because they're all just great voices. I love listening to very obscure jazz.
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Diana Krall knocks me out. I like jazz and I like her simple approach.
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I have learned as much about writing about my people by listening to blues and jazz and spirituals as I have by reading novels.
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My mother was a jazz fanatic and she wanted me to play the piano so I could play jazz tunes. I wish I had learned but I was too busy getting into trouble!
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The law don't like jazz clubs. No one wants anything to do with that kind of trouble.
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I did everything I could to not bring in any of the - any of the technical things I got from classical into jazz. And I did everything to really base it on my speaking voice and to just not try to make it sound pretty.
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I'd rather call it "instrumental creative music," especially the music that I've been doing. If a person would hear that music, they would undoubtedly call it "jazz." There is this whole generation of musicians that are playing and thinking critically for themselves and making music that's relevant to today. I hope that's the objective of a lot of musicians.
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The economic picture in the States today doesn't allow for jazz concerts in a tour fashion. People now are too used to the Festival, which gives them more names for the same price.
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I've really gone into business since I got the 6 string, which was like starting all over.
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I can't imagine my life without the extraordinary bebop jazz revolution in New York in late '40s and '50s.
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I stayed with them for about a year up there and, at night, worked over in Long Island at a club called The High Hat Club which was like a pseudo jazz / blues place.
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Jazz is not a 'form' but a collection of tags and tricks.
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I wouldn't call myself a jazz player or a blues player.
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I grew up in the funk, rock and roll, blues and r&b tradition, and I came to this thing we call jazz later. And I came to improvise music from the standpoint of jazz; I was improvising, but within these other genres of music.
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Paul's One Way Out is a fresh, intelligently arranged, and satisfyingly complete telling of the lengthy (and unlikely) history of the group that almost singlehandedly brought rock up to a level of jazz-like sophistication and virtuosity, introducing it as a medium worthy of the soloist's art. Oral histories can be tricky things: either penetrating, delivering information and backstories that get to the heart of how timeless music was made. Or too often, they lie flat on the page, a random retelling of repeated facts and reheated yarns. I'm happy to say that Paul's is in that first category.
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There's no future without the past and anybody who doesn't really understand where jazz has come from has no right to try to direct where it's going.
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When I started doing improvise music in Europe, in the beginning I thought the way that Europeans were interpreting the reconstruction of deconstruction of this thing that we call jazz - of course it's different than what Americans do, because Europeans have a different history, a different sensibility and so forth - the nature of the creative process itself it's the same; but what comes from that creative process is different, because you have a different history, you have a different society, different language.
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I've always loved jazz.
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When I was doing jazz concerts in America, I would use the biggest names I could find.
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Jazz speaks for life. This is triumphant music.
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I'm sure someone out there has a workable solution. But what do I know? I make comic books and write about jazz. I do know the difference between right and wrong, though.
