Quotes from Norman Granz

There are many artists that I present that I admit I like less than I do others. But I think that they warrant being presented by my own, personal standards.

I don't say that the supposed Civil Rights development is a myth, but it's a matter of dealing with reality. It's purely peripheral and, in many cases, it's just a facade.

I find myself more at peace when I live in Europe.

The history of all big jazz bands shows was, first they played for dancing, and then they played for singing.

If I were to put on Barbra Streisand and Duke Ellington, one might say the combination isn't good.

In 1958, I decided that I was going to live in Europe permanently. So in 1959 I moved to Lugano, Switzerland.

To play today in London, next week in Madrid and the week after that in Warsaw is a bit better than playing Newark and Baltimore and Philadelphia. I've been doing that for 20 years.

Ella can work nightclubs that Duke might not be able to work, because of having the big band. Where they go now is strictly a matter of their own names and talents.

Ellington is a writer and arranger, as well as a musician and leader. He does movie sound tracks.

Germany is probably the richest country in Western Europe. Yet they wouldn't take any television with Duke and Ella, their reaction being that people weren't interested in it.

If you look at my audiences, even in Europe, they're hardly teenagers.

Amsterdam must have more than a million people. But the only area where jazz is really profitable and successful in an economic sense is in Japan. That's because they haven't been exposed enough.

You will always find a few people in any area that would like things done completely their way.

The record companies are interested in the kind of sales they can get from the rock groups.

Jazz is America's own. It is played and listened to by all peoples - in harmony together. Pigmentation differences have no place... as in genuine democracy, only performance counts.

There are very few groups that really stay together. The leaders of groups make enough money to be able to afford to work a maximum of 35-40 weeks a year.

My function at Verve was that of a genuine producer in artists and repertoire.

The economic picture in the States today doesn't allow for jazz concerts in a tour fashion. People now are too used to the Festival, which gives them more names for the same price.

I don't think I will ever do any tours again in the United States. I rather think that that's over with.

I still continue to do at least four concert tours a year, and in many cases, as many as six.

For years, Jazz At The Philharmonic albums were the only ones of their kind.

I don't know who's 18 years old today that, 20 years hence, is going to be a jazz fan.

Jazz was uplifted by what I did.

I don't want to sound as if I'm doing something tremendously special. But I am a jazz fan.