Jazz Quotes
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I don't like freedom jazz - I think it's void of roots and void of foundation.
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You know I want to sing for people, I want to jazz people up I want to make new music that they've never heard.
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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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You learn from music, from watching great athletes at work - how disciplined they are, how they move. You learn these things by watching a shortstop at work, how he concentrates on one thing at a time. You learn from classic music, from the blues and jazz, from bluegrass. From all this, you learn how to sustain a great line without bringing in unnecessary words.
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In my view a jazz musician is a great musician
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The jazz band's chief stimulus, of course, was the rise of the negro 'blues' and their exploitation by the negro song-writer, W. C. Handy.
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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.
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Are you stalking me, Mr. Fulton?" The idea both amused and horrified Jazz.
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"Jazz" to begin with, is a really bad word... all the true musicians that really play jazz, jazz is the worst word for it. Jazz is a process. Jazz is a creative process. It's not so much a genre, but a way of expression.
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Jazz is not just music, it's a way of life, it's a way of being, a way of thinking.
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When I was a little kid I thought I would grow up to be black and sing jazz in nightclubs.
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Clint Eastwood said, the only things America has contributed to civilization are the western and jazz. And I don't think westerns are bad, but lots of people make great cinema. But jazz is right there.
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The value of music is not dazzling yourself and others with technique.
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I've always loved jazz.
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Jazz was uplifted by what I did.
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Normal adults can doodle, amble, and drift with no need to assess risk, since there is normally no risk at all. Jazz improvisation seems less subject to standards of risk than surgery, and less than much formal athletic performance, as in a tennis match.
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I was introduced to jazz, and that's become a basic concern and passion of mine ever since.
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Jazz spent a chunk of the day fantasizing about ways to kill his grandmother, plotting them and planning them in the most excruciating, gruesome detail his imagination would allow. It turned out his imagination allowed quite a bit. He spent the rest of the day convincing himself--over and over--not to do it.
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What I came back to is that jazz is a music to be played and not to be intellectualized on.
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You have to go out and learn jazz by playing.
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My own feelings about the direction in which jazz should go are that there should be much less stress on technical exhibitionism and much more on emotional content, on what might be termed humanity in music and the freedom to say all that you want.
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The whole reason for Jazz at the Philharmonic was to take it to places where I could break down segregation.
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My first Grammy wasn't even in a jazz category, but of course I was really excited. 'Rockit' was the beginning of kind of a new era for the whole hip-hop movement.
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I recorded my first jazz record in the '70s.
