Quotes About Music

A development deal is where they're giving you recording time and money to record, but not promising that they'll put an album out.

Everybody has that point in their life where you hit a crossroads and you've had a bunch of bad days and there's different ways you can deal with it and the way I dealt with it was I just turned completely to music.

Faith Hill is a big role model.

I don't think I'd ever make an album of just covers because I love writing my own music.

The business aspect is one of the most important things about having a music career, because every choice you make in a management meeting affects your life a year-and-a-half from now.

I think I first realized I wanted to be in country music and be an artist when I was 10. And I started dragging my parents to festivals, and fairs, and karaoke contests, and I did that for about a year before I came to Nashville for the first time. I was 11 and I had this demo CD of me singing Dixie Chicks and Leanne Rimes songs.

Blinding, joyous, fearful symmetry surrounds me. So much is incorporated within patterns now that the entire universe verges on resolving itself into a picture. I'm closing in on the ultimate gestalt: the context in which all knowledge fits and is illuminated, a mandala, the music of the spheres, kosmos.

When dealing with music, the personal is the political, and always has been.

The role of these New Orleans Creoles in the development of jazz remains one of the least understood and most commonly mis-represented issues in the history of this music.

And the two colleagues are still hanging out together: Van Heusen is buried in the Sinatra family plot in Cathedral City, California.

I know why the best blues artist comes from Mississippi," Hooker told an interviewer from Melody Maker in 1964. "Because it's the worst state. You have the blues all right if you're down in Mississippi.

In America, music was the first sphere of social interaction in which racial barriers were challenged and overturned. And the challenge went both ways: by the mid-1920s, white bands were playing for all-black audiences at Lincoln Theater and elsewhere. These intermediate steps between segregation and integration represented, for all their problems, progress of sorts.

As recently as the twentieth century, some cultures retained religious prohibitions asserting the "uncleanliness" of believers eating at the same table as musicians.

When stealing from other players, an older musician wisely advised me, choose a different instrument from your own, and people won't notice the theft.

Listening, not jargon, is the path into the heart of music. And if we listen at a deep enough level, we enter into the magic of the song—no degrees or formal credentials required.

Listening, not jargon, is the path into the heart of music. And if we listen at a deep enough level, we enter into the magic of the song - no degrees or formal credentials required. [...] [C]areful listening can demystify virtually all of the intricacies and marvels of jazz. [...] [T]he people who first gave us jazz did so without much formal study - and, in some instances, with none at all. But they knew how to listen.

Like the New Orleans tradition that preceded it, and the Swing Era offerings that followed it, Chicago jazz was not just the music of a time and place, but also a timeless style of performance - and for its exponents, very much a way of life - one that continues to reverberate to this day in the works of countless Dixieland and traditional jazz bands around the world. For many listeners, the Chicago style remains nothing less than the quintessential sound of jazz.

Western musicians had to choose between creating sounds and playing notes—and they opted for the latter. But African musicians never got enlightened (or is corrupted the better word?) by Pythagorean thinking.

Given this long and murky lineage, any inquiry into the origin of hunting songs is tantamount to a search for the birth of music itself.

the most powerful and forgotten aspect of music is its role as a change agent; its potential as a transformative force for individuals and groups; its quasi-magical efficacy in ameliorating conditions, softening attitudes, recharging or redirecting energies, fueling or channeling emotions, its capability of purifying or refining or augmenting, and making our day-to-day existence better than it would be otherwise.

inquiries. You will feel it in the music and cherish it as the most magical part of the jazz idiom. If you don't, you can always leave the jazz club and check out a rock or pop covers band. That's perfect entertainment for people who want to live in the realm of perfect replication. Jazz, in

Maybe we need an injection of Africanized soundscapes—let's even call it a new jazz revolution!—all over again.

Jazz ist für diejenigen, die dabei sein wollen, wenn ein Wunder passiert.

Dizzy Gillespie recorded it with Charlie Parker in an influential 1945 track (incorporating a much imitated intro—perhaps initially intended as a parody of Rachmaninoff 's Prelude in C-Sharp Minor