I listened to Billie Holiday a lot in order to learn to sing. She remains one of the extraordinary jazz singers. But my intent is to become my own voice, to be able to interpret these songs in my own way.
That mainstream English is essential to our self-preservation is indisputable . . . but it is not necessary to abandon Spoken Soul to master Standard English, any more than it is necessary to abandon English to learn French or to deprecate jazz to appreciate classical music.
Edward Isaac Bickert in never one to blow his own horn - figuratively - he is one of the most modest and unassuming men in Jazz. But literally - he blows up a storm .
I couldn't get my album played over the so-called smooth jazz stations. Jazz stations would not play it. You don't always know who you're making that soul connection with.
I think if it wasn't for the blues, there wouldn't be no jazz.
In the sense that I also try to reflect the fullness of the black experience, I’m very much a jazz poet.
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.
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.
I don't think that jazz, as any kind of an art form, has any permanence attached to it, apart from the practitioners of it.
I don't want to sound as if I'm doing something tremendously special. But I am a jazz fan.
The public, hearing pop music, is, without knowing it, also soaking up jazz.
When I was doing jazz concerts in America, I would use the biggest names I could find.
I don't know if I have enough guts to do a whole standard jazz record.
At Carnegie Hall the Preservation Hall Jazz Band showed how easily it could hop from era to era. It could work like a rhythm-and-blues horn section or a tightly arranged little big band if need be, but it could also switch back into the polyphonic glories of vintage New Orleans jazz, in which nearly every instrument seems to improvise around the tune at the same time.
Hearing Marilyn Crispell play solo piano is like monitoring an active volcano. She is one of a very few pianists who rise to the challenge of free jazz.
Historians in the future, in my opinion, will congratulate us on very little other than our clowning and our jazz.
I know of musicians who have played together for decades who hate each other. The Modern Jazz Quartet for one.
Jazz, I mean, music will always move, because it can't become stagnant. Because if it becomes stagnant, it's like a river, it'll kill us all. It has to keep moving, music will always flow.
When I was 12, I began listening to John Coltrane and I developed a love for jazz, which I still have more and more each year.
I, of course, wanted to play real jazz. When we played pop tunes, and naturally we had to, I wanted those pops to kick! Not loud and fast, understand, but smoothly and with a definite punch.
Comedy is the ultimate truth. Jazz is hitting the notes that that no one else would hit, and comedy is saying words that no one else would say.
I'm a person of change and I must be honest to my artistry and my creativity. That's part of the word 'jazz'... it's an adventure.
If you are in an improv jazz ensemble or a small chamber group, you learn to think fast on your feet and how to be flexible and to collaborate and compromise, and that may yield a creative outcome.
All them weird chords which don't mean a thing...you got no melody to remember, and no beat to dance to
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