Quotes of All Topics . Occasions . Authors
I started playing sax when I was fourteen because I'm like a real competitive person when it comes to winning girls attention. And there was this girl that I really wanted the attention of and I found out she really liked jazz.
I studied classical music for a year. Then, I studied jazz for a year at the New School, and then I got kicked out. You had to go to your class, so I don't know if that counts as studying. I didn't study jazz. I was supposed to.
I started writing songs when I was 10. It was a natural way to express myself as a kid. It wasn't until I started listening to jazz, joined the choir and picked up a guitar that my little hobby became something far more serious.
What basketball expresses is what jazz expresses. Certain cultural predispositions to make art. All African-American art has a substratum, or baseline, of improvisation and spontaneity. You find that in both basketball and jazz.
When I began, poetry was very academic. You published little pamphlets from fancy presses. It was rather... chaste. There wasn't much public reading. Then there was poetry and jazz, which I don't think worked, though I love jazz.
A lot of EDM is not bad at all when it's simple, but a lot of it is not really musical. That's just what I really like to do: taking what I had at the beginning, which is classical and jazz influences, and putting it into electro.
From early on there were two things that filled my life - music and storytelling, both of them provoked by my father. He was a jazz pianist and also a very good storyteller, an avid reader. He passed both those interests on to me.
I came along in the '60s having absorbed as much as I could up until then and added my own tastes and search into the equation. I guess that's how I see 'Now He Sings, Now He Sobs' in relation to the development of jazz in general.
Jazz is known all over the world as an American musical art form and that's it. No America, no jazz. I've seen people try to connect it to other countries, for instance to Africa, but it doesn't have a damn thing to do with Africa.
There are three virtuous styles of music; classical, jazz and heavy metal. I do love classical music but I don't listen to it much anymore and I never listen to metal, so I am not very interested in music that is difficult to play.
Working in bars back then, in the '50s, to get a job you had to play all kinds of music. There'd be customers come in and yell jazz tunes at you and yell rock 'n' roll tunes at you and polkas and rhythm and blues and country music.
I'm saddened to see that everyone's pitched out the baby with the bath, in that we say that it can't be one or the other, it could be both. I mean, just because we listen to classical music doesn't mean that we can't listen to jazz.
For me, I just want to sing about life. And since I come from a spiritual background, I turned to jazz, because I feel it's still sacred, like gospel. It's serious music, but it allows room to sing about so much other stuff as well.
I like a very dark house, just black. I sit there and just think. Once I'm still and quiet inside, I'll begin. It's very personal; it has to be. One song may be Bach, the next blues, a song from TV, or a nursery rhyme or jazz piece.
Rip Rig + Panic that I joined, they were really influenced by jazz and blues and punk. So I think what happened from punk, which was kind of DIY, was that it created a kind of creative place that was kind of without limits, in a way.
My early influences were the Shadows, who were an English instrumental band. They basically got me into playing and later on I got into blues and jazz players. I liked Clapton when he was with John Mayall. I really liked that period.
In high school, I was always into Jerry Lee Lewis, and they decided they needed a piano player for the jazz band. I had my little boogie-woogie thing that I did, so I did my little boogie-woogie thing. I had a very high-pitched voice.
There was a period which I refer to as the 'Golden Age of Jazz,' which sort of encompasses the middle Thirties through the Sixties, we had a lot of great innovators, all creating things which will last the world for a long, long time.
In jazz, you listen to what the bass player is doing and what the drummer is doing, what the pianist and the guitarist is doing, and then you play something that compliments that, so you are thinking simultaneously and thinking ahead.
I'm a rapper and, obviously, hip hop rap is my main thing. But I also like to dive into different genres and kind of be a bit more experimental and open myself up a bit, whether that's taking influence from jazz or soul or electronic.
You're just sort of searching for this 'thing' and sometimes you get it and sometimes you don't. All music is imperfect, but in jazz since you're improvising, at least the way I play, I'm trying to follow my train of thought in a solo.
Whether I do jazz or R&B, there are always complaints. I would just listen to the complaints about what I do instead of celebrating what I do, and that I'm different and in my own lane. It took a while for me to just ignore the doubts.
If you met my dad, I think a lot of things would be put to rest. Because my pops is a pretty silly guy. But, Coldcut, they're based in the U.K. I'm a big fan of jazz music, so American music has had a big influence on what I listen to.
What are the symbols of American strength, wealth, power and modernity? Certainly not jazz and rock and roll, not chewing-gum or hamburgers, Broadway or Hollywood. It's their skyscrapers. Their Pentagon. Their science. Their technology.
You have to enjoy playing. The old-timers did, and that's one reason why their music is a lasting music. I feel that I play jazz to entertain the listener, and you just can't do that unless you yourself are entertained at the same time.
I first met Miles Davis about 1947 and played a few jobs with him and Sonny Rollins at the Audubon Ballroom in Manhattan. During this period, he was coming into his own, and I could see him extending the boundaries of jazz even further.
Jazz is very important. It's not something I can put my finger on. When I'm writing at my favorite time, I like to have the gentle side of Coltrane or Brubeck on the CD player. It creates sort of a spiritual space in which I write best.
I would love to do a biopic of a famous singer, like Diana Ross or Donna Summer, or an old jazz story that we haven't seen before. I would love to do that! I would love to play Diana Ross 'cause she's an icon. I'm salivating to do that.
The jazz chord substitutions in a country song... that was another thing that bent people's ears. I guess that my favorites are the unique ones. It's not how fast you play. It's that unique blending of different stuff I'm most proud of.
I grew up listening to John Coltrane and jazz, so they were subtle influences. I sometimes think about doing some kind of weird jazz record, but I don't know... It's on my list of things to do. I don't want to have to then go promote it.
One thing that sticks in my mind is that jazz means freedom and openness. It's a music that, although it developed out of the African American experience, speaks more about the human experience than the experience of a particular people.
I came to Berklee to study guitar, I really wanted to be a jazz guitarist, and I really came because I really wanted to come for Pat Metheny, and then when I get to Berklee, there's no Pat Metheny, he's not there, and so now what do I do?
We're the first technology-creating species. We use technology to extend our reach. We didn't stay in the caves, and we haven't stayed on the planet. To play jazz with our genomes and the universe might ultimately be what we're all about.
The Ertegun Jazz Hall of Fame will provide a center where the lives and the artistry of the greatest jazz musicians will be celebrated, and where people will come to learn about jazz, something to which my brother devoted his life's work.
When I first played some Coltrane-type stuff on the 'Pimp a Butterfly' sessions, Kendrick got it immediately. 'I want it to sound like it's on fire,' he'd say. That's the kind of common ground that the best jazz and the best hip-hop have.
I'd love to give my girls a traditional Thanksgiving with turkey and all that jazz, but we've raised them to love Tuscan food so much that they don't care for it. My favorite is a nice polenta with beef stew and broccoli rabe on the side.
Writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz. Much of the time life is a sort of rhythmic progression of three characters. If one tells oneself that life is like that, one feels it less arbitrary.
Since my father is a musician as well, he taught me growing up that if you can play jazz, you can learn all instruments and write on them. He wanted me to be a songwriter that can do anything in any genre. I'm all about doing every genre.
You know, Equal Interest played at the Bell Atlantic Jazz Festival Awards and not one musician from that category was even thought of. Even thought of! The idea, that here's this vital energy, and that element doesn't even know it exists!
In Malaysia, we have a lot of divas, like Whitney Houston, Mariah Carey singers. And they were all so so talented, just very talented. For example, there's this one jazz singer, her name is Sheila Majid, and I was always singing her songs.
I enjoy playing clubs. I still enjoy the closeness of the nightclub venue. However, after a certain period of time and after playing around some of the clubs in New YorkI felt that jazz should be presented in a more prestigious atmosphere.
I'm not a one-stop music shop with jazz improv in aisle 3 and country and western in aisle 4. I have a fairly focused and established kind of melody and approach, so people know what they're getting into when they go into business with me.
What I believe to be jazz is constructed and improvised music which is in the air right now. But I don't think that's most people's definition of jazz, you know? We don't know what we're talking about, because we don't know the definition.
I think we are in the midst of this period where we are committing this suicide on the planet and everybody is just using up all of our natural resources like a bunch of insane people. That's what I worry about more than I worry about jazz.
Words are the children of reason and, therefore, can't explain it. They really can't translate feeling because they're not part of it. That's why it bugs me when people try to analyze jazz as an intellectual theorem. It's not. It's feeling.
Personally, I think young musicians need to learn to play more than one style. Jazz can only enhance the classical side, and classical can only enhance the jazz. I started out playing classical, because you have to have that as a foundation.
Jazz came out of New Orleans, and that was the forerunner of everything. You mix jazz with European rhythms, and that's rock n' roll, really. You can make the argument that it all started on the streets of New Orleans with the jazz funerals.
New Orleans is a place where people are deliberately undereducated so that they can be a labour class - the economy there is tourism, and one of the only outlets that black males have traditionally been allowed is to play jazz music, y'know?
I read every book there was on jazz, about the original players - King Oliver, Buddy Bolden and all those groups. At one time I was fairly well schooled in that... I could tell you who played where and when, historically, way before my time.
My folks have played everything from rock, disco, pop, funk, and blues. My dad has always brought and played different genres like jazz, classical, and Latin. With all this in my pocket, I feel I have a taste of everything for my influences.