Jazz Quotes - Page 31

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Why a musician loves playing jazz or classical music or what makes them happy, and why an artist likes to paint - it's so hard to actually put into words what that feeling is of joy that we get, but that is what I get: a feeling of joy when the camera is rolling, even if I'm doing something that is not joyous.

For me, let's keep jazz as folk music. Let's not make jazz classical music. Let's keep it as street music, as people's everyday-life music. Let's see jazz musicians continue to use the materials, the tools, the spirit of the actual time that they're living in, as what they build their lives as musicians around.

My father was a jazz tenor sax player. He played in a lot of big bands. So I had that sound around me all the time. The first record that really caught my ear was Clifford Brown's 'Brownie Eyes.' I grew up listening to John Coltrane and Illinois Jacquet. This is where I come from... I love improvisational music.

I've got all of the old school vinyls from the '70s - even further back, like the jazz music in the '40s, '50s, '60s. Then I've got all the '80s stuff underground, hip-hop when hip-hop really first started. The '90s stuff. All of the good stuff, because I'm really into music, and it helps me create new songs now.

I started playing music around 13 or 14, played jazz in high school, and played other stuff in college. After college, I tried to make it as a musician. I lived in a big squalid house full of dudes outside of Boston. We were all musicians. We built this studio in the basement and played there all hours of the day.

Cultures have long heard wisdom in non-human voices: Apollo, god of music, medicine and knowledge, came to Delphi in the form of a dolphin. But dolphins, which fill the oceans with blipping and chirping, and whales, which mew and caw in ultramarine jazz - a true rhapsody in blue - are hunted to the edge of silence.

It never gets boring for me because there's so many different things to explore in the studio. The studio's become the sanctuary that people have come in and found new things out about themselves, as weird as that sounds. But it's true, I'm no different. I've made some crazy hard records, and I've made a jazz album.

In the States, this type of jam-band phenomena has opened it up for groups to improvise, admittedly more in the groove area, as opposed to the straight-ahead jazz thing - which is good for me, as that's one part of where I'm at. It's been so great playing these gigs and seeing kids come out and the whole college scene.

I remember the first time I was booked into a jazz club. I was scared to death. I'm not a jazz artist. So I got to the club and spotted this big poster saying, 'Richie Havens, folk jazz artist.' Then I'd go to a rock club and I'm billed as a 'folk rock performer' and in the blues clubs I'd be a 'folk blues entertainer.'

Freedom is the thing that has attracted me most to jazz. Within improvisation, you're really able to express something that maybe I'm not so adept at expressing via language. So I develop a language through the instrument to tell stories. So it's kind of this freedom of thought and freedom of expression that kind happens.

Since the beginning of my recording career in 1975, I have had a little difficulty because the pop stations think I'm a jazzer who doesn't have a feeling for pop, so it's hard to get my records played. Similarly, black urban radio doesn't understand that with my R&B roots, I am more than a jazz singer. So I get pigeonholed.

My thing was, I loved music. I played music: I played the saxophone. So the little bit of music knowhow I had, I tried to implement that in every thing I did, from my style, my cadence, the way I tried to pause and stagnate it; that all came from John Coltrane and listening to jazz albums. Trying to rhyme like a jazz player.

What we know about the destination resort business is clearly established. But it's all about one thing, and one thing only. All of the razzmatazz and jazz we hear about facilities and everything else doesn't amount to a hill of beans. It's customer experience that determines the longevity and endurance of these enterprises.

Jazz music is America's past and its potential, summed up and sanctified and accessible to anybody who learns to listen to, feel, and understand it. The music can connect us to our earlier selves and to our better selves-to-come. It can remind us of where we fit on the time line of human achievement, an ultimate value of art.

It's always difficult to define what jazz is or what jazz isn't. To me, the only definition that I can think of is it's music where a lot of different elements are played at the same time. The harmonic, the melodic... You're pushing the boundaries on every level. That could be true of rhythm and blues as well. I'm a musician.

I grew up listening to Switchfoot. I love Switchfoot; they're a great band. John Foreman is awesome. I really dig mainstream pop music, but I also have a heart for jazz and rock. Oh! Coldplay! I cannot miss Coldplay! I think 'Fix You' is one of the most brilliantly written songs ever. It's, like, my favorite song of all time.

That's what it is-it's jazz. It's just jazz. That's what the whole thing is about to me. It's about what's happening right now in this context. This conversation is jazz to a certain extent. It's improvisation. What appeals to me about music is the improvization. That's what I don't like about the media-they're not living it.

We don't live in a jazz world, unfortunately. I think if I had lived in a jazz world, I would have done OK. I'm not sure I would have done great. I'm a lover of jazz music, so I would have been happy, don't get me wrong. I go to jazz concerts like the biggest jazz fan in world. The drag is that I don't play jazz for a living.

In such a globally connected world, musicians now have the unique opportunity to express all of the cultural 'mash ups' we are experiencing these days. Akin to the blend of cultures that occurred in early 20th-century New Orleans that led to the birth of jazz, I believe that the world has reached a similar cultural turning point.

A respectable-sized audience hasn't really been able to follow developments in jazz since the free jazz movement in the '60s. Some of them can't even get with John Coltrane. Audiences are diminishing more and more rapidly. Some of the top young musicians with something new to say can't get record companies to put out their stuff.

I'm a man that's unique to the world. That's kind of the star I was born under - on the cusp of Capricorn and Aquarius. My mother is Irish-American, and my father is Afro-Panamanian, so it's kind of been the story of my life to be a bridge between different cultures and different styles, and musically, that's between jazz and R&B.

That's why I loved Dinah Washington. She sung jazz, but they called her the Queen of the Blues. She had the control and sophistication of jazz in her note selection and how to attack a song or certain lines, but then attacked it with a painful force of blues behind it. That's why I admired her so much, because of that versatility.

I was an absolute idiot, wearing polo-necks, reading Kerouac, watching Woody Allen movies, and jazz fitted right into all of that. My interest in that whole world became very genuine, but perhaps started off a bit affected - a mixture of right and wrong reasons. I was always drawn to non-commercial music, perhaps pathologically so.

I got into music when I was a little boy. My dad was always into jazz. I got my education from him. The first time I listened to jazz, he gave me a Thelonious Monk record. It was so different from anything I had ever heard. It took me a while to understand it, and I liked that. I liked the fact that it wasn't immediately palatable.

When I was nine years old, I started playing guitar, and I took classical guitar lessons and studied music theory. And played jazz for a while. And then when I was around fourteen years old, I discovered punk rock. And so I then tried to unlearn everything I had learned in classical music and jazz so I could play in punk rock bands.

Columbia was a wonderful label for me. Wonderful. The records I made there garnered me an audience. I won a number of polls during the years that I was at Columbia. The Downbeat Jazz Poll. Leonard Feather, who was a huge critic back in the day, different polls that he had. The Playboy poll, a number of polls. So the music was great.

I think The Doors are one of the classic groups, and I think we're all tempted to feel like the time in which we grew up was somehow special, but I really do believe that there were two golden eras in music: The Forties and Fifties of big band, jazz and swing, and the Sixties and Seventies of rock. To me, they're really unparalleled.

Reactionary conservatives are smiling through the racial apocalypse. To them, race baiting is a joke, as 'humorist' Rush Limbaugh will tell you when he's calling Mexicans 'stupid.' Or it's a matter of semantics when they claim that Sonia Sotomayor is a 'racialist' which, far as I can tell, is the smooth jazz version of being a racist.

When I was a teenager, I really didn't like loud rock music. I listened to jazz and blues and folk music. I've always preferred acoustic music. And it was only, I suppose, by the time Jethro Tull was getting underway that we did let the music begin to have a harder edge, in particular with the electric guitar being alongside the flute.

When I was a kid, I used to listen to my Emerson radio late at night under the covers. I started by listening to jazz in the late 1940s and then vocal harmony groups like the Four Freshmen, the Modernaires and the Hi-Lo's. I loved Stan Kenton's big band - with those dark chords and musicians who could swing cool with individual sounds.

I grew up in the Great Depression, and the jazz artists and Dixieland musicians were at the core of our communications and enjoyment. They were not passing fancies. They are something that is, and will be, listened to again and again. I have a space of reverence for some of those old jazz stars such as Sydney Bechet and Louis Armstrong.

Jazz music and, more specifically, jazz musicians, are my artistic heroes. I want to be the Thelonious Monk of acting. He had no concern for how well he was received. He played whatever he wanted whenever he wanted. He just wasn't interested in achieving the good opinion of his audience. That's the Holy Grail of acting; of any art form.

My dad's also a musician, so jazz was always around the house. When I was 11, I developed an interest in it, and he took me to Leimert Park. At that time, it was the artistic hub of L.A., and it was right in South Central. The first concert I went to, I saw Pharoah Sanders at the World Stage club there, which only holds, like, 30 people.

Truth of the matter is, jazz is American music. And that doesn't mean bebop. Jazz is really about improvising. All the music that's been created in America has been pretty much improvised... Whether it's hillbilly or rock n' roll for blues, it's basically jazz music... It's basically about another way of hearing what comes out of America.

Normally, things are viewed in these little segmented boxes. There's classical, and then there's jazz; romantic, and then there's baroque. I find that very dissatisfying. I was trying to find the thread that connects one type of music - one type of musician - to another, and to follow that thread in some kind of natural, evolutionary way.

I like to compare the attitude and energy of an emerging start-up to that of the early hip-hop era. From working at labels like Bad Boy and Ruff Ryders, walking into the Def Jam offices, A Touch of Jazz and things like that, the vibe is that off making something out of nothing and making things work, and that's what I love about start-ups.

It has been difficult to hold onto many paintings but I have retained a few. Possibly the current favorite is titled 'Big Band' completed in 2005. It measures 13 feet x 9 feet. It has 18 nearly life size recognizable portraits of the biggest jazz stars that I knew and saw perform in the 1950s, '60s, '70s, '80s and includes Wynton Marsalis.

Out of the ashes of the Great War came the freewheeling cultural renaissance that was the Jazz Age, but the decade-long party of flapper dresses and bootlegging came to a crashing halt with the Crash of '29 - triggering the Great Depression and the New Deal that would help America get back on its feet, just in time for another, greater war.

I kept on buying records and listening to them. Finally, I was able to hear the relationship between the jazz improvisers' solos and the underlying structure that it's based on, the chord progression. That was pretty easy to do in the swing era, y'know, when jazz was, like, pop music, you know. It had made the charts and everything like that.

So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.

Big band music, to me, it really has three key elements. First is the lyrics are really sweet, and they're just really family-friendly. The second thing is the music is jazz music, so the music is complicated enough to hold your attention for 5 or 6 million plays. That makes the songs interesting. The last part is the fact that it's danceable.

I teach in M.F.A. programs now, and I think that's a great way to become a novelist, but I mourn that Pete Dexter and Joan Didion's route is maybe less likely because there are fewer of those jobs. I always liken it to playing piano in some great dive jazz bar. You didn't pick the songs, you played what people asked for, but you got your chops.

I think all of us begin as writers. I wanted to be a writer from the time I as eight, long before I heard of jazz. The question is, once you have that obsession, what is your subject going to be and you often don't know for some time. It might become fiction, it might be non-fiction, and if it's non-fiction it can go in any number of directions.

I love so many different types of music - hard rock, bebop, jazz fusion, R&B. And I've loved meeting and painting so many amazing artists like Lionel Richie, Ronnie Wood, Sia, Steven Tyler, Swizz Beatz, Taylor Swift, James Moody, The Fifth Dimension, Chick Corea, Herbie Hancock and Michael Jackson. It makes me smile thinking about each one of them.

I once took a ride to the beach in L.A., and all along the shore there were all these so-called jazz places. And I saw these college guys and session players playing this fusion Muzak stuff. It was just a lot of notes, and the more notes they played, the more it kept them from expressing anything. So I came back home and got out my Zeppelin albums.

It’s like a language. You learn the alphabet, which are the scales. You learn sentences, which are the chords. And then you talk extemporaneously with the horn. It’s a wonderful thing to speak extemporaneously, which is something I’ve never gotten the hang of. But musically I love to talk just off the top of my head. And that’s what jazz music is all about.

Everybody in Germany was for the -German cause. But then, after the war ended, when I heard the first Glenn Miller sound on the radio and these fantastic American music makers, I turned into a jazz fanatic. They called me Benny, after Benny Goodman. So, all of a sudden, the eyes of young Germans were opened to America - everything American was absolutely at the top of the list.

I've always explored things that people find a bit more freakish, like free jazz, and I'd gotten to a point where the live music I was making was really hectic and turning much more confrontational. So when I started working on Everything Ecstatic, that was very normal for me. I think it was a departure, but people read it as an escape from something, whereas every record I do is, I feel, a departure.

Jazz musicians like John Coltrane needed these very clear titles for their abstract music, and your decision to bring voices into your music as a way to tap into content. It's related to the way my text-based work still functions as abstraction for me. If I repeat a sentence down a canvas, the text starts to smudge and disappear. It essentially becomes an abstract piece. The meaning of the text is still there.

For the most part, 99 percent of jazz is boring; you've heard it before. People aren't doing anything creative that's extremely modern. They tend to always be like "Let's do a tribute to Miles Davis!" All the new albums are tributes to history. It becomes too much at a certain point, it leaves us waving like "Hello? I'm alive, I'm here!" You know? So I really do feel like it needs some spice, it needs to be relevant to today's times, today's people, today's sound.

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