If income was directly proportional to technical proficiency and education, classical and jazz musicians would be some of the most affluent people in the world.
My novels and poems are meant to be read aloud. That's why jazz musicians have been able to adapt my stuff.
It is my belief that there is a tendency among the so-called 'modern' or 'hip' jazz musicians to consider styles other that their own, 'corny', and it is my contention that in actuality it is these musicians who are producing that which in future years perceptive critics will deem 'corny'.
I'd have no trouble being the barbecue kingpin of America. I'd just add it to all the other things I am: jazz musician, carpenter, architect, engineer and revolutionary.
If you're making money people don't think you're playing Jazz. When you're not making money they think you're a great Jazz musician.
If I knew what it was going to look like, I wouldnt be so excited to be a part of it. Jazz is a music of surprise; its a music of spontaneity. I think jazz musicians live--I know I do--for being surprised and not knowing whats going to come next.
Now as jazz musicians we're saying for this society, you can free up your imagination. You can proceed in an area without much information and you can function in an area without much information.
Jazz musicians have some outlaw in them somewhere.
Many jazz musicians affect a misunderstood-genius air when they play, which alienates the audience and breaks down the communications of the music. A musician's responsibility is to get as much of his art across as possible. Musicians used to be kept when only the rich could afford art, but now practically everyone can afford radios, stereo equipment, concert tickets, etc. A musician must learn to communicate to survive.
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.
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 know I’m an African-American, and I know I play the saxophone, but I’m not a jazz musician. I’m not a classical musician, either. My music is like my life: It’s in between these areas.
People who are qualified are symphonic orchestra players and jazz musicians; they're qualified to do what they do. Rock stars are lucky. It's a combination of right time, right place and having certain genes or a gimmick or whatever, but it's really not anything more than sugar. It tastes good and goes away fast.
Jazz musicians are so comfortable. The reason they can't do what we do is because they're so comfortable doin' what they do.
[Jazz musicians] feel comfortable with their clichés, you know.
Duke Ellington, Art Tatum, and many other great jazz musicians objected to their music being called jazz. While the outside world may want to put a label on it, those who create it think of it just as music, and tend not to classify it.
I've been around jazz and jazz musicians most of my life.
People who love jazz musicians love us when we play what we want to play and we're starving. But as soon as you commercialize your sound like Wes Montgomery did, the jazz fans and the critics are down on you!
I love music. My secret dream has always been to be a jazz musician. I tried the saxophone for a year or two when I was younger, but unfortunately I had to face the fact that I was not really talented !
The first jazz musician was a trumpeter, Buddy Bolden, and the last will be a trumpeter, the archangel Gabriel.
A jazz musician is a combination orator, dialectician, mathematician, athlete, entertainer, poet, singer, dancer, diplomat, educator, student, comedian, artist, seducer, public masturbator, and general all-round good fellow.
What separates great jazz musicians from average ones is Taste. Those who have taste consistently choose notes, tempos, timbres and voicings that seduce and satisfy attentive listeners.
The most important thing to do as an artist is to get out of your comfort zone and work with different people: people who can't read a note of music, people who have incredible classical skills, blues and jazz musicians, pop artists, visual artists, dancers and actors. Learn from people who are creative in a different way to you and you'll keep evolving.
So for all that we might speak words in each other's vicinity, this could never develop into anything that could be called a conversation. It was as though we were speaking in different languages. If the Dalai Lama were on his deathbed and the jazz musician Eric Dolphy were to try to explain to him the importance of choosing one's engine oil in accordance with changes in the sound of the bass clarinet, that exchange might have been more worthwhile and effective than my conversations with Noboru Wataya.
I did, I was in Europe a lot. I would say, mid 20s to late 30s. Less so in the last ten or twelve years. Based on some political stuff and other things, I think I'm not the only musician, the only American jazz musician that's not going to Europe quite as much. I think we're seen a little differently in the world, unfortunately, than we were pre-Iraq invasion and things like that.
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