Jazz Quotes
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Music is my religion. Music is the only thing that has never failed me. People let you down, music won't.
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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 wouldn't call myself a jazz player or a blues player.
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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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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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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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I love my jazz hands!
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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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It's very modern. Very gamine. You look like a jazz singer.
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In my view a jazz musician is a great musician
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I just saw a recent television program about art, and it was saying how from the end of the Second World War, so much of what our culture is comes from not just the United States in general, but New York in particular. In my case, I can't imagine my life without the extraordinary bebop jazz revolution in New York in late '40s and '50s.
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Oscar Peterson is the greatest living influence on jazz pianists today.
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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 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 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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What I came back to is that jazz is a music to be played and not to be intellectualized on.
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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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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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I think you have to have a jazz pedigree to be on jazz radio.
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It's not exclusive, but inclusive, which is the whole spirit of jazz.
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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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Jazz was uplifted by what I did.
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Jazz should be much less about stress on technical exhibitionism and much more on emotional content.
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I was introduced to jazz, and that's become a basic concern and passion of mine ever since.
