Jazz Quotes
Most Famous Jazz Quotes of All Time!
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You need better technique than I have to play jazz, but what you have to do is the same thing, isn't it?
That's the exact concept behind the music: to take that kind of, I guess whatever you want to call it, jazz sensibility - but not have it be about solos.
I never wanted to sound clean and pretty. In jazz, I felt I could sing these deep, husky lows if I want and then these really tiny laser highs if I want as well.
Miles Davis was doing something inherently African, something that has to do with all forms of American music, not just jazz.
I've often cringed when I heard myself described as a jazz singer. I've always thought of myself as a jazz vocalist.
We went to see all the shows. American musical theater and jazz were very big.
I can show you that I have played with just about every jazz musician, every African musician, every blues musician. It's not like I'm cashing in on a false concept. This is what I do.
I just got to hear every note. After I left Birdland, I started working at the Jazz Gallery. In the end, I still couldn't play, but I knew how to listen. I was probably the world's best listener.
We were either listening to jazz or Robert Johnson, the old blues man, but not to our peers.
When I heard Charlie Parker, I knew that that was going to be the new wave, the new way to play jazz. From that point on, I was sold with... the idea of bebop.
People comment on the way that I phrase. And in my 20s, I realized, my phrasing is jazz phrasing. I don't comply strictly with musical theater phrasing. Musical theater tends to be very one and three, and jazz is definitely two and four.
My favorite music is jazz, actually. It's what I listen to, it's what I was raised on, and it's what I prefer to sing.
My father was a huge jazz fan, so I remember him playing Duke Ellington, Sarah Vaughn, and Count Basie.
I gravitate to rhythmic music, so I listen to jazz, world music, Indian music, Hawaiian music, all kinds.
I like to capture the spirit of what the writers intended but find my own nuances. That comes from jazz - the invention and freeness within a structure.
I didn't really think I liked jazz all that much until I was about 18. That's when the freedom and possibilities of it began to seem appealing to me.
I listen to all kinds of songs. There's something to be learned from every type of music and from the one making it, whether it's pop or jazz or hip-hop.
People hear traditional jazz and think it's stale, where there are so many ways it can be opened up. With New Orleans and old-time grooves, there's no limit in what can be done with that. I want to break the stereotype of what traditional jazz is.
It's something that jazz has gotten away from, and it's unfortunate. Players aren't physical anymore.
Jazz fans love Miles and I love him for a myriad of reasons, but the overviews are always too simplistic.
I think that one of the problems that jazz has is that it's so incestuous that it's starting to kill itself.
Coltrane came to New Orleans one day and he was talking about the jazz scene. And Coltrane mentions that the problem with jazz was that there were too few groups.
I started doing theater at the age of six. I also took tap and jazz lessons. I refused to take ballet, which is one of my biggest regrets to this day.
I tended to lean towards the guys who both sang and played, such as Ricky Skaggs, Vince Gill, Steve Wariner... And at the other end of the spectrum, I had Eric Clapton in a rock and blues sense, jazz guys such as Tal Farlow and Les Paul... Then Chet Atkins-type stuff.
I am not a jazz singer. I wouldn't place myself on that footing. I wouldn't even enter that arena.
I have a fondness for jazz, particularly for jazz singers, Billie Holiday and Ella Fitzgerald all the way through the Sinatra era.
Jazz is very much a part of my life. I work with the Thelonious Monk Institute and do the artwork for their program every year.
Jazz needs the help. It's the more sophisticated music. All the other music is on the TV, but jazz isn't.
Miles Davis fully embraced possibilities and delved into it. He was criticized heavily from the jazz side. He was supposed to be part of a tradition, but he didn't consider himself part of a tradition.
I think the Flecktones are a mixture of acoustic and electronic music with a lot of roots in folk and bluegrass as well as funk and jazz.
Fitzgerald coined the phrase the 'Jazz Age,' and now we're living in the Hip-Hop Age.
Jazz vision is a wordless conversation between musical notes and visual expressions.
Jazz vision for me is seeing my art in musical term. It offers me an visual expressions in an ever-changing musical palette.
In college, I was able to be the vocalist for the jazz band at Arkansas State.
I love Rihanna's new album, Skrillex, and Norah Jones. They're are all very different, but I love any rock, pop, and jazz.
You can't seperate modern jazz from rock or from rhythm and blues - you can't seperate it. Because that's where it all started, and that's where it all come from - that's where I learned to keep rhythm - in church.
It was a particularly interesting and exciting time, and the European political and artistic establishment was turned on by the Civil Rights Movement and the artistic revolution that was becoming a part of jazz.
I'm just trying to avoid any sort of generic kind of music - I don't want to do generic jazz or fusion.
It's sort of what jazz would be if it stopped being snobby and what rock would be if it stopped being stupid.
All the folks I play with come from jazz backgrounds or at least appreciate spontaneity within the parameters of a pop song.
I found that jazz musicians, possibly more than their classical counterparts, wear long-standing friendships easily and gracefully.
I don't ever consciously change gears when I play jazz or classical. It's all music.
Musically, I try not to box things in. I try to just play around this spectrum of influences: soul, jazz, and hip-hop.
Listening to the stories told in jazz music and how those artists expressed their truths about the times and what they were dealing with is what struck me the most.
I flow between modern and traditional jazz, between samba and choro - all maybe in a week's time.
The clarinet is not so dominant in Israeli music as it is in klezmer. I heard klezmer when I was growing up, but for some reason I avoided it. I listened to Louis Armstrong instead. But the sense of melody is the connection between jazz and klezmer.
Well I went to New Orleans to cover the jazz festival for Trio, it's this new arts channel, it's really great.
I always liked jazz. And my people liked the old blues, race records and the doo-wop and all that.
As a lover of both hip-hop and jazz, I feel like much of the latter community still doesn't truly embrace hip-hop as a musical extension.
I've played with jazz and toyed with it when I used to live near the St. Nicholas Pub in Harlem.
I was considered as a jazz man rather than as a blues player. There were no blues players-you played one sort of jazz of another sort of jazz.
Growing up, I listened to a lot of jazz and blues records - John Coltrane and Etta James. I was also really into Radiohead and the BeeGees.
A jazz tune, melody, or composition is usually based on either a traditional twelve-bar, eight-bar, or four-bar blues chorus or on the thirty-two-bar chorus of the American popular song.
I've been saying for almost 20 years that I need to do a jazz project and it ought to be either big band or I should do some jazz songs with a trio or quartet.
Every good gospel singer you can hear is a scat singer; they're just using different syllables. There are a lot of jazz singers out there, and more coming out of the churches.
I suppose I am more comfortable with jazz because I have been playing it that much longer, and also because classical music is a much more disciplined genre.
I've done all different kinds of genres - doo-wop, pop, funk, gospel, country, jazz, you name it.
A lot of times, we look at jazz in eras. How can we not keep those eras separate and think of the language as one complete continuum? It's all interrelated, and it's all evolutionary.
Herb Wong was an incredible man. We met when I was performing with Clark Terry at the Wichita Jazz Festival around 1974.
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