Esperanza Spalding Quotes

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I grew up with an incredibly loving and supportive family that gave me the impression there were a lot of options for me out there.

I don't watch TV, I don't spend time on the Internet, and I don't party much. I don't text very much, either.

I think there's so much negative influence on children in school settings. It becomes learning by rote to pass a test. It's not contextualized.

There's enough time in the day: If you go to bed at 10 and start your day at 6, there's a lot you can do in a day!

You can grow up with literally nothing and you don't suffer if you know you're loved and valued.

My earliest attempts at writing were when I was seven. I would sit at the piano and transcribe the songs I heard on the radio. I'd change little things in the music and write different lyrics.

On nights that I'm feeling a need to stretch personally and artistically, I tend to put together outfits that are very quirky, mismatched and over-the-top eclectic.

Jazz has always been a melting pot of influences and I plan to incorporate them all.

Genre boundaries are good for marketing but they all but disappear when you're a player.

Anything I do has to have integrity, so if you just want to make music, it's not difficult finding support. The hard part for a publicist or manager is making a star.

There is an assumption that if you're young and pretty, you will get all these opportunities that are way beyond your musical foundation.

I always say that the problem with jazz accessibility is not the content of the music, it's people's ability to access it.

I just think music is so intrinsically linked with images in the culture that we live in that you'll be hard-pressed to have an experience with the music without a preconceived notion.

It's a pity that if someone who has a really profoundly potent art to share chooses not to or doesn't fit into this very thin slice of what's desirable and marketable, chances are the public will never get a chance to hear what they're doing.

I like to read, and I like dance. I don't dance, but I like to see other people dance.

I love people, and I love to be with people and to make music with people, but my natural state is to revert back to being by myself in my house, which is cool because that's where I practice and write and listen and study.

The benefit of the radio is, something beyond your realm of knowledge can surprise you, can enter your realm of knowledge.

If you don't already know about jazz music, how would you be exposed? How would get an opportunity to find out if it spoke to you? If you get exposed to it enough, you might find a taste for it.

I never think my music isn't easy until I got to teach it to other people.

I write at the piano, so I write things that fit comfortably under my hands, and I'm not thinking in terms of any specific compositional methods. I'm just seeking sounds.

For what I can imagine and feel and think and hear, I can hardly do anything on the acoustic bass. It used to be just pure frustration of imagining so much more and being able to get to a certain level of execution.

I am insubordinate by nature. I can't help it.

I love Aretha Franklin, Edith Piaf, Blondie.

If you're a writer, and you write fiction, that's not all you read.

You don't have to be fearless to do anything; you can be scared out of your mind. I fear that I won't get better and that I won't have time to practice. To be called a 'jazz musician' - it's a big responsibility.

And I feel that it's inevitable that the work that I do will reflect the life that I live. And the life I live feels very diverse.

I just want to say, if you're going crazy, take a break. I felt overwhelmed by stuff that wasn't satisfying me, things I was supposed to do for my career. I stopped and said, 'Let me get back to the basics.'

There's nothing wrong with struggle. Anytime I look back at a difficult phase of my life and see what grew out of it - the creative survival tactics - I think that the good is way better than the bad.

Your sanity is harder to get back than money or contacts. You are the magic. You are the art. You can't lose that.

There's a guy I used to pay to work with me who'd call me 'kiddo.' I said, 'There's nothing that justifies you expressing that to me, your boss.'

It's about process, the process of growth. It seems to me in my own life - and other minds throughout history have also observed this phenomenon - that growth seems to move in two directions at the same time.

As you go back or move toward insights/ideas/events/words/lessons/mistakes in the past, you develop into the future from the present. I think that's pretty cool that two quote-unquote opposites are intrinsically linked. That whole theme of opposites being two sides of the same whole is a theme that's always been intriguing to me.

I don't think it's about playing and singing, to be honest. That seems like old news, you know? I wasn't thinking about that. I just think that's in my body now. Dancers don't think about their legs moving one way and their arms moving another. Over time, you incorporate that into your instrument.

When something in art or music piques my interest, I tend to go check it out, and most things I check out, I'm not very good at. But a few things I've gone to check out have given me back as much love as I gave them, usually much more.

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