Quotes About Jazz

It's not the note you play that's the wrong note – it's the note you play afterwards that makes it right or wrong.

Jazz will endure just as long as people hear it through their feet instead of their brains.

It's very modern. Very gamine. You look like a jazz singer.

I'm very much aware in the writing of dialogue, or even in the narrative too, of a rhythm. There has to be a rhythm with it … Interviewers have said, you like jazz, don't you? Because we can hear it in your writing. And I thought that was a compliment.

Miles Davis dijo que cualquier pieza que se tocara a la trompeta había sido ya interpretada por Louis Armstrong.

Being plied with fine food always puts me in mind of the slammer, cause the food was jumpin' in there too--high in fat but nice and salty. You know what the worst deprivation in there was My music. Radio belonged to my cell mate, the Blonde Hammer. He was into that jazz-fusion thing at the time. I tell you what, enough Spyro Gyra and you're hoping you'll get killed in a knife fight.

Jazz vision is the fusion of music and art a real paradox of same-yet different. Here we play in exchanges, like the hardness of the key of c# major and from the softness of Db major - capturing, reflecting and improvising.

You know how that goes, G. William," Jazz said lightly. "If you outlaw police scanners, only outlaws will have police scanners.

One of the things jazz has always excelled at is translating the reality of the times through its musical prism.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

Jazz fans love Miles and I love him for a myriad of reasons, but the overviews are always too simplistic.

As more people get into indie bands and alternative music, they're also getting more into other genres that fit those categories, like jazz and classical. It's becoming more rebellious to go to a classical concert. You're getting the younger art house crowd and regular students as well as those who are just curious.

To be honest, I don't have a particular recipe, but I normally start with the chord progression and then I build it from there. I listen to a lot of jazz, so the chords are really important to me.

You know what I'd really like to do? I'd like to record some white Chicago jazz.

I recorded my first jazz record in the '70s.

My first recording, a guy came down to Philadelphia and heard me play and he introduced me to Alfred Lion.

I think as long as people are around and can hear a record and hear people like Lester Young on a recording, there will always be a great inspiration for somebody to try to create jazz.

I put out a recording of me singing mostly jazz because I wanted people to know I'm coming from a jazz background.

I love Monk's song, 'Just a Gigolo.' It's probably a minor song for him, but whenever I hear a recording of him playing it, I'm mesmerized because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.

I remember the first time hearing a recording from Minton's Playhouse; it was Charlie Christian and a young Dizzy Gillespie, and he was just the best musician in the room.

The first records I heard were from Dizzy Gillespie and people like that.

My brother had a big band in high school; after that we continued to play together, eventually forming a group called the Jazz Brothers, that recorded for Riverside Records.

I do all the classics, like Dylan, Kristofferson, Jimmy Reed, Mexican mariachi songs, some jazz songs from the '30s. Cole Porter's 'Begin the Beguine,' that's one of my favorites.

If you listen to Louis Armstrong from 1929, you will never hear anything better than that really, and you will never hear anything more free than that.