Jazz Quotes
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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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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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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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I love my jazz hands!
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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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I'm concerned with trend. I don't know where jazz fans will come from 20 years from now.
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Jazz is a music that is open enough to borrow from any other form of music, and has the strength to influence any other form of music.
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I recorded my first jazz record in the '70s.
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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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At a certain point, I became a kind of musician that has tunnel vision about jazz. I only listened to jazz and classical music.
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It's very modern. Very gamine. You look like a jazz singer.
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Jazz was uplifted by what I did.
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Oscar Peterson is the greatest living influence on jazz pianists today.
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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 has borrowed from other genres of music and also has lent itself to other genres of music.
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I think you have to have a jazz pedigree to be on jazz radio.
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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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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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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 don't mind being classified as a jazz artist, but I do mind being restricted to being a jazz artist. My foundation has been in jazz, though I didn't really start out that way. I started in classical music, but my formative years were in jazz, and it makes a great foundation.
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It's not exclusive, but inclusive, which is the whole spirit of jazz.
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I was interested in Armstrong to begin with because he is the most important figure in Jazz in the 20th Century. There's simply no question about it. I mean, if you're going to compare him to somebody, it's Shakespeare in terms of centrality of the tradition, in being at the beginning of it.
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Jazz should be much less about stress on technical exhibitionism and much more on emotional content.
