Quotes of All Topics . Occasions . Authors
What Music expresses is eternal, infinite, and ideal; she expresses not the passion, love, desire, of this or that individual in this or that condition, but Passion, Love, Desire itself, and in such infinitely varied phases as lie in her unique possession and are foreign and unknown to any other tongue...So...Here's to Victory, gained by our higher sense over the worthlessness of the vulgar! To Love, which crowns our courage...To the day, to the night!...And three cheers for Music.
As a great democratic society, we have a special responsibility to the arts. For art is the great democrat, calling forth creative genius from every sector of society, disregarding race or religion or wealth or color. What freedom alone can bring is the liberation of the human mind and a spirit which finds its greatest flowering in the free society. I see of little more importance to the future of our country and our civilization than the full recognition of the place of the artist.
Maybe it's naïve, but I would love to believe that once you grow to love some aspect of a culture-its music, for instance -you can never again think of the people of that culture as less than yourself. I would like to believe that if I am deeply moved by a song originating from some place other than my own homeland, then I have in some way shared an experience with the people of that culture. I have been pleasantly contaminated. I can identify in some small way with it and its people.
Of course, an exhausting day at sail lines and nets left little energy to expend on running or laughing. Perhaps that was why her parents couldn't appreciate her music - it wouldn't appear to be hard work to them. Menolly shook her hands, letting them flap from her wrists. They ached and trembled from the constricted movements and tension of an hour of intensive playing. No, her parents would never understand that playing musical instruments could be as hard work as sailing or fishing.
If they think they are doing something new, they ought to do what I do every day - spend at least two hours every day listening to Johann Sebastian Bach and, man, it's all there. If they want to improvise around a theme,which is the essence of jazz, they should learn from the master. He never wastes a note, and he knows where every note is going and when to bring it back. Some of these cats go way out and forget where they began or what they started to do. Bach will clear it up for them.
And I thought about how many people have loved those songs. And how many people got through a lot of bad times because of those songs. And how many people enjoyed good times with those songs. And how much those songs really mean. I think it would be great to have written one of those songs. I bet if I wrote one of them, I would be very proud. I hope the people who wrote those songs are happy. I hope they feel it's enough. I really do because they've made me happy. And I'm only one person.
Free improvisation, in addition to being a highly skilled musical craft, is open to use by almost anyone-beginners, children, and non-musicians. The skill and intellect required is whatever is available. Its accessibility to the performer is, in fact, something which appears to offend both its supporters and detractors....And as regards method, the improvisor employs the oldest in music-making...Mankind's first musical performance couldn't have been anything other than a free improvisation.
Duane Allman was bursting with energy ... he was a force to be reckoned with. His drive and focus, as well as his intense belief in himself and our band, was incredible. He knew we were going to make it. We all knew we were a good band, but no one had that supreme confidence like he did, and it was a great thing, because his confidence and enthusiam were infectious... it says a lot that his hero was Muhammad Ali. That kind of supreme confidence that Ali had - that's where Duane was coming from
It is agreed that all sound which is the material of music is of three sorts. First is harmonica, which consists of vocal music; second is organica, which is formed from the breath; third is rhythmica, which receives its numbers from the beat of the fingers. For sound is produced either by the voice, coming through the throat; or by the breath, coming through the trumpet or tibia, for example; or by touch, as in the case of the cithara or anything else that gives a tuneful sound on being struck.
... We have quite a large area, and that makes it more fun for us - certainly more satisfying, because it doesn't restrict us to one particular idea or one particular style. The result, I think, is pretty interesting ... we don't expect to make a fortune at it or ever be popular or famous or worshipped or hit The Ed Sullivan Show or the circuses or the big top. As long as we can play, we'll play, regardless of what it's for, who it's for or anything. It's fun for us - that's the important thing.
... We borrowed it all from Coltrane. I started encouraging everybody in the band to listen to John Coltrane - 'Check it out, see what these guys do.' They take one chord, the tonic chord, and just play all over it. 'We can do that too!' I wanted to make our music something really amazing - I wanted it to be jaw-dropping and turn on a dime and do all of those things that I knew music could do, and nobody told us we couldn't do it. I shouldn't say 'I,' though - Jerry Garcia was behind it the whole way.
Music, the greatest good that mortals know, And all of heaven we have below. Music can noble hints impart, Engender fury, kindle love; 40 With unsuspected eloquence can move, And manage all the man with secret art. When Orpheus strikes the trembling lyre The streams stand still, the stones admire; The listening savages advance, The world and lamb around him trip The bears in aukward measures leap, And tigers mingle in the dance The moving woods attended as he played And Rhodope was left without a shade.
For the moment, the jazz is playing; there is no melody, just notes, a myriad tiny tremors. The notes know no rest, an inflexibleorder gives birth to them then destroys them, without ever leaving them the chance to recuperate and exist for themselves.... I would like to hole them back, but I know that, if I succeeded in stooping one, there would only remain in may hand a corrupt and languishing sound. I must accept their death; I must even want that death: I know of few more bitter or intense impressions.
In part of Lord Kames' Elements of Criticism, he says that "music improves the relish of a banquet." That I deny,--any more than painting might do. They may both be additional pleasures, as well as conversation is, but are perfectly distinct notices; and cannot, with the least propriety, be said to mix or blend with the repast, as none of them serve to raise the flavor of the wine, the sauce, the meat, or help to quicken appetite. But music and painting both add a spirit to devotion, and elevate the ardor.
Hendrix was back there with a few of the others who were like my training wheels ... hearing him as a teenager taught me to look at the guitar in a different way - and how to tap into that thing inside of me that was already leaning toward improvisation. You learn other players' licks at first; then you take off the training wheels and start using the licks as building blocks to make your own thing. That's how influences work. somewhere in whatever I do, there's a little bit of Hendrix - plus about a hundred others
... Andres Segovia literally created the genre of classical guitar, which hadn't existed before around 1910. There was flamenco, which he borrowed from, but he actually arranged the works of Mozart and other classical composers for guitar, something that had never been done before ... Segovias' style is not slick or contrived, but it's still very clean and his timing is impeccable ... it's got a feeling of casual elegance, as if he's sitting around the house in Spain with a jug of wine, just playing from the heart.
The poet Muriel Rukeyser said the universe is composed of stories, not of atoms. The physicist Werner Heisenberg declared that the universe is made of music, not of matter. And we believe that if you habitually expose yourself to toxic stories and music, you could wind up living in the wrong universe, where it's impossible to become the gorgeous genius you were born to be. That's why we implore you to nourish yourself with delicious, nutritious tales and tunes that inspire you to exercise your willpower for your highest good.
The old men of the village of Mahotière say that the Mistress of the Water is a mulatto woman. At midnight she comes out of the spring and sings while combing her dripping long hair, which makes a sound sweeter than a violin. It is a song of perdition for whomever hears it. There is no sign of the Cross, no "Our Father" to save him. Her curse takes him like a fish in a net and the Mistress of the Water awaits him on the edge of the spring and smiles upon him and tells him to follow her to the depths, from which he will never return.
There is plenty of room left for exact experiment in art, and the gate has been opened for some time. What had been accomplished in music by the end of the eighteenth century has only begun in the fine arts. Mathematics and physics have given us a clue in the form of rules to be strictly observed or departed from, as the case may be. Here salutary discipline is come to grips first of all with the function of forms, and not with form as the final result … in this way we learn how to look beyond the surface and get to the root of things.
And if you look around, if you listen to some music nowdays, I'm not so optimistic...I have the feeling that some of the young people I've met they think already, before they start playing, they think already about the product: how can we sell it....maybe my view is really very old fashioned nowadays, but I think art at any times needs time for development and this fast food bullshit is not working... younger guys: take your time, music is really a thing of long terms, actually it's a lifelong thing to learn and to develop your own stuff.
It appears to me that the subject of music, from Machaut to Boulez, has always been its construction. Melodies of 12-tone rows just don't happen. They must be constructed....To demonstrate any formal idea in music, whether structure or stricture, is a matter of construction, in which the methodology is the controlling metaphor of the composition...Only by 'unfixing' the elements traditionally used to construct a piece of music could the sounds exist in themselves--not as symbols, or memories which were memories of other music to begin with.
There was a lot that was tricky about playing with [Thelonious Monk]. It's a musical language where there's really no lyrics. It's something you feel and you're hearing. It's like an ongoing conversation. You really had to listen to this guy. Cause he could play the strangest tempos, and they could be very in-between tempos on some of those compositions. You really had to listen to his arrangements and the way he would play them. On his solos, you'd really have to listen good in there. You'd have to concentrate on what you were doing as well.
Where do people get off saying the Beatles should give $200,000,000 to South America? You know, America has poured billions into places like that. It doesn't mean a damn thing. After they've eaten that meal, then what? It lasts for only a day. After the $200,000,000 is gone, then what? It goes round and round in circles. You can pour money in forever. After Peru, then Harlem, then Britain. There is no one concert. We would have to dedicate the rest of our lives to one world concert tour, and I'm not ready for it. Not in this lifetime, anyway.
I sailed on the North River last night with my flute, and my music was a tinkling stream which meandered with the river, and fell from note to note as a brook from rock to rock. I did not hear the strains after they had issued from the flute, but before they were breathed into it, for the original strain precedes the sound by as much as the echo follows after, and the rest is the perquisite of the rocks and trees and beasts. Unpremeditated music is the true gauge which measures the current of our thoughts, the very undertow of our life's stream.
I was devastated. I'm still devastated to this day. When talent like that disappears in a flash, you can't believe it. You deny it. Max Roach, who, of course, played with him on all those EmArcy recordings, held a concert in Baltimore for Clifford long after Clifford died. Max was still disbelieving so many years later. The concert was supposed to bring closure. But Max was so outrageously emotional that day. He had quite a few eruptions and was very emotional about what had happened so many years earlier. Like everyone, he remained disbelieving.
Little Wing is like one of these beautiful girls that come around sometimes ... you play your gig; it's the same thing as the olden days, and these beautiful girls come around.. you do actually fall in love with them because that's the only love you can have. It's not always the physical thing of "Oh, there's one over there ...", it's not one of those scenes. They actually tell you something. They release different things inside themselves ... "Little Wing" was a very sweet girl that came around that gave me her whole life and more if I wanted it.
I encourage film students who are interested in cinematography to study sculpture, paintings, music, writing and other arts. Filmmaking consists of all the arts combined. Students are always asking me for advice, and I tell them that they have to be enthusiastic, because it's hard work. The only way to enjoy it is to be totally immersed. If you don't get involved on that level, it could be a very miserable job. I only have one regret about my career: I'm sorry that we are not making silent movies any more. That is the purest art form I can imagine.
The musical emotion springs precisely from the fact that at each moment the composer withholds or adds more or less than the listener anticipates on the basis of a pattern that he thinks he can guess, but that he is incapable of wholly divining. If the composer withholds more than we anticipate, we experience a delicious falling sensation; we feel we have been torn from a stable point on the musical ladder and thrust into the void. When the composer withholds less, the opposite occurs: he forces us to perform gymnastic exercises more skillful than our own.
I feel fortunate that I've had a lot of songs recorded by other people, because I take my songwriting very seriously. It's only those people that have followed me over the years and really know my work that know how serious I am about all of it - including the way I look. You can't take my high heels from me, you can't have my long fingernails, you can't take all this hair from me, because it's part of this thing that I've become. I wouldn't want to give any of it up. Do I have to be ugly to be a songwriter? This is the way I am, and it's what I choose to be.
...I got a call from a record company offering me a contract, I did not want to take it because the Lord had pointed me in the direction of spiritual activity...And then it was disclosed to me that I could do both spiritual and musical work. So for five years I executed that contract, and when it was finished, after I made the album Transfiguration, I didn't make another album until twenty-six years later. This new album, Translinear Light, came out of the pleading and constant appealing from my son Ravi Coltrane: 'Ma, please make a CD.' So I eventually agreed.
It was so interesting, when [John Coltrane] created A Love Supreme. He had meditated that week. I almost didn't see him downstairs. And it was so quiet! There was no sound, no practice! He was up there meditating, and when he came down he said, "I have a whole new music!" He said, "There is a new recording that I will do, I have it all, everything." And it was so beautiful! He was like Moses coming down from the mountain. And when he recorded it, he knew everything, everything. He said this was the first time that he had all the music in his head at once to record.
All I know about music is that not many people ever really hear it. And even then, on the rare occasions when something opens within, and the music enters, what we mainly hear, or hear corroborated, are personal, private, vanishing evocations. But the man who creates the music is hearing something else, is dealing with the roar rising from the void and imposing order on it as it hits the air. What is evoked in him, then, is of another order, more terrible because it has no words, and triumphant, too, for that same reason. And his triumph, when he triumphs, is ours.
For some reason that only a sociologist might be able to accurately explain, the Brazilian Press was extremely unkind to me, reporting only selective derogatory untruthful rumors (some of which are still around), harsh criticism, and unwarranted sarcasm. I was very hurt by this. It was such great disappointment... When I came back from Brazil at that time, I made a promise to myself that I would never, ever again sing in Brazil. So far [as of 2002], I have kept this promise, having declined each and every invitation or proposals to perform in Brazil. Once was enough!
Usually, no one quite knew where Django Reinhardt was going to be, but I met his brother and about an hour later in walks Django with an entourage of friends. He always traveled with a large group-carried his own admirers with him, the most sinister-looking bunch of hoodlums you've ever seen. I walked up and offered to buy him a drink. That seemed to be the right thing to do... he was the first really brilliant solo guitarist I ever became aware of, I had records of his when I was 10 years old. It just blew my mind that anyone could play a guitar like that. Still does.
We are living in a period in which many people have changed their mind about what the use of music is or could be for them. Something that doesn't speak or talk like a human being, that doesn't know its definition in the dictionary or its theory in the schools, that expresses itself simply by the fact of its vibrations. People paying attention to vibratory activity, not in reaction to a fixed ideal performance, but each time attentively to how it happens to be this time, not necessarily two times the same. A music that transports the listener to the moment where he is.
What will be the judgment a century hence concerning the lorded works of our favorite composers today? Inasmuch as nearly everything is subject to the changes of time, and - more's the pity- the fashions of time, only that which is good and true will endure like a rock and no wanton hand will ever venture to defile it. Then, let every man do that which is right, strive with all his might towards the goal which can never be obtained, develop to the last breath the gifts with which the gracious Creator has endowed him, and never cease to learn. For life is short, art eternal.
In my opinion, the trombone is the true head of the family of wind instruments, which I have named the 'epic' one. It possesses nobility and grandeur to the highest degree; it has all the serious and powerful tones of sublime musical poetry, from religious, calm and imposing accents to savage, orgiastic outburst. Directed by the will of the master, the trombones can chant like a choir of priests, threaten, utter gloomy sighs, a mournful lament, or a bright hymn of glory; they can break forth into awe-inspiring cries and awaken the dead or doom the living with their fearful voices.
Percussion music is revolution. Sound and rhythm have too long been submissive to the restrictions of nineteenth century music. Today we are fighting for their emancipation. Tomorrow, with electronic music in our ears, we will hear freedom. At the present stage of revolution, a healthy lawlessness is warranted. Experiment must necessarily be carried on by hitting anything-tin pans, rice bowls, iron pipes-anything we can lay our hands on. Not only hitting, but rubbing, scraping, making sound in every possible way...What we can't do ourselves will be done by machines which we will invent.
At this time the fashion is to bring something to jazz that I reject. They speak of freedom. But one has no right, under pretext of freeing yourself, to be illogical and incoherent by getting rid of structure and simply piling a lot of notes one on top of the other. There's no beat anymore. You can't keep time with your foot. I believe that what is happening to jazz with people like Ornette Coleman, for instance, is bad. There's a new idea that consists in destroying everything and find what's shocking and unexpected; whereas jazz must first of all tell a story that anyone can understand.
We're running into a lot of new problems today because of what we emphasize in this culture. The word 'success' to the average person means earning a lot of money and having a home, two cars, children in college. Success to me is entirely different to what success is to the average person. Success is being a successful human being in terms of pursuing what you believe in. If you believe in making paintings, writing poetry, writing music. If this is what you really want, you're successful to yourself. But to be successful to your culture means to sell yourself short of what you really want
