Jazz Quotes
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I wouldn't call myself a jazz player or a blues player.
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All the forms of popular music from jazz to hip-hop, to bebop, to soul come from black innovation. You talk about different dances from the catwalk, to the jitterbug, to the Charleston, to break dancing -\-\ all these are forms of black dancing...What would [life] be without a song, without a dance, and joy and laughter, and music.
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Are you stalking me, Mr. Fulton?" The idea both amused and horrified Jazz.
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Jazz speaks for life. This is triumphant music.
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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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I don't like freedom jazz - I think it's void of roots and void of foundation.
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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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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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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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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 have to go out and learn jazz by playing.
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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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I closed my own jazz bar so I could be a man who can write novels as I like. I was pleased about that. This pleasure was connected to the pleasure of writing.
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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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I recorded my first jazz record in the '70s.
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The brain is only three pounds of blood, dream, and electricity, and yet from that mortal stew come Beethoven's sonatas. Dizzie Gillespie's jazz. Audrey Hepburn's wish to spend the last month of her life in Somalia, saving children.
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I've always loved jazz.
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Jazz is America's own. It is played and listened to by all peoples - in harmony together. Pigmentation differences have no place... as in genuine democracy, only performance counts.
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Jazz is a way of life, and you have to learn about it on the street, so to speak. But the training comes in by giving you the tools to work with.
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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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What I came back to is that jazz is a music to be played and not to be intellectualized on.
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It's much easier for me to say that, the kind of music I didn't listen to was pretty much that. I mean everything, from jazz to classical to popular. And Tibetan horns were a great part of it in 1966, '67.
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I'm aware that a lot of what is happening in jazz has not had a very dynamic change in a long time.
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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.
