Jazz Quotes
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Yes, there's a relaying of internal states that only a novel can achieve. In my view, the novel is one of Europe's greatest gifts to the world. America and Africa collaborated to give the world jazz. We'll call it even.
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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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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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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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In my view a jazz musician is a great musician
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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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You have to go out and learn jazz by playing.
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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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Jazz has borrowed from other genres of music and also has lent itself to other genres of music.
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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 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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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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I love my jazz hands!
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It's very modern. Very gamine. You look like a jazz singer.
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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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I was introduced to jazz, and that's become a basic concern and passion of mine ever since.
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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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It pulled me like a magnet, jazz did, because it was a way that I could express myself.
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Jazz should be much less about stress on technical exhibitionism and much more on emotional content.
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It's not exclusive, but inclusive, which is the whole spirit of jazz.
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I started off with classical music, and I got into jazz when I was about 14 years old. And I've been playing jazz ever since.