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Jazz Musicians Quotes
Jazz is the last refuge of the untalented. Jazz musicians enjoy themselves more than anyone listening to them does.
I want them to come away with discovering the music inside them. And not thinking about themselves as jazz musicians, but thinking about themselves as good human beings, striving to be a great person and maybe they'll become a great musician.
Jazz music and, more specifically, jazz musicians, are my artistic heroes. I want to be the Thelonious Monk of acting. He had no concern for how well he was received. He played whatever he wanted whenever he wanted. He just wasn't interested in achieving the good opinion of his audience. That's the Holy Grail of acting; of any art form.
Trevor St. John
I took some lessons as a kid but trained myself by ear. I did it the way jazz musicians used to learn years ago, which is to play records and slow them down to figure out the notes. At first I tried to imitate Red Garland, who was my favorite jazz pianist.
Hamp would ask me about tempos in the band: 'Jacquet,' he'd say, 'knock off that tempo.' A lot of jazz musicians didn't prefer to play for dancers, which was their loss, really. But good jazz has always had that dance feel.
I was being ridiculed for going to school... But, you see, I had looked hard at the other musicians and the whole show-business scene... They were doing with jazz musicians what they usually reserved for rock n' roll cats: making them overnight successes, then overnight antiques.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
I have always been a person who is concerned with the dignity of jazz music and the way jazz musicians have been treated and are treated, and the fact that the music has not been given the kind of due that it deserves.
Coltrane would do what you'd get a Roland Pro Tools module to do but with a group of jazz musicians.
Mum left school at 15, and after a few years of modelling and dating jazz musicians, was married by 21 to my father, Mike Taylor, a journalist on the 'Daily Mirror.' They had my brother and me pretty quickly and had split up by the time I was two. I don't really have any memories of them as a couple.
For me, let's keep jazz as folk music. Let's not make jazz classical music. Let's keep it as street music, as people's everyday-life music. Let's see jazz musicians continue to use the materials, the tools, the spirit of the actual time that they're living in, as what they build their lives as musicians around.
Comedians talk to other comedians the way jazz musicians can talk to each other.
We always feel pretty creative as far as writing songs. We write them together; we just get in a room, or on occasion in Flea's garage. We just sort of improvise, like jazz musicians.
I have seen great jazz musicians die obscure and drinking themselves to death and not really being able to get any work and working in small, funky jazz clubs.
What I can say is that for may years jazz musicians had to go to Europe, for instance, to be respected and to be sort of treated not in a discriminatory way. I don't think there is anything controversial about me saying that. This is just a fact.
You had many jazz musicians who lived in the United States, who had a hard time being accepted over here and had to play in sort of these inferior type dives.
The Ertegun Jazz Hall of Fame will provide a center where the lives and the artistry of the greatest jazz musicians will be celebrated, and where people will come to learn about jazz, something to which my brother devoted his life's work.
Actually John, Paul Rutherford, and Trevor Watts, and several other rather well known English jazz musicians had got their training by joining the Air Force, which was a pretty standard way for people to get some kind of musical education in those days.
I've met a lot of jazz musicians in my day, and they're all funny.
In some ways, jazz is the most precise of art forms and the loosest in the sense that it's all about improvisation, but the musicianship required is kind of insane. To actually play with real jazz musicians is a different level of musicianship that almost has no equal in any other form of music in the world.
My great inspiration has always been Studs Terkel, who is a wonderful American oral historian. He was a radio DJ at first, interviewed a lot of jazz musicians, and at some point started to interview Americans about work.
Orchestras are not used to playing the kind of stuff jazz musicians like to play. It requires a lot of rehearsal and recording time, so it's much easier to do on a synth or sampler. So, we came up with that idea.
I found that jazz musicians, possibly more than their classical counterparts, wear long-standing friendships easily and gracefully.
I never gave up on that idea, you know, that jazz musicians have the same opportunity as everybody else and that it's what you put on that record that makes the difference whether you sell it or not or are able to get it into people's households.
One of the things that's clear to me from interviews that I've read is that the more popular successful jazz musicians had audiences above and beyond the music community.
A. P. J. Abdul Kalam
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