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.
Dave Rocha is a modern player out of the hard-bop tradition, with a beautiful sound and tremendous facility on the horn. You can hear the influence of Clifford Brown, Lee Morgan and others in his playing, but Dave has his own voice, and it's a nice one!
Dave's playing and repertoire evokes memories of the golden era of Modern Jazz, and in addition to being a nice guy he happens to be a bebopper of the finest order.
Dave Rocha is a mature and eminently musical improviser. His sumptuous tone and cafefully chosen notes embody real musical thought. His performance of 'Dear Old Stockholm' at Chez Hanny evoked favorable comparisons to Miles Davis' classic recording.
First of all, I swore it was two people playing. When I finally admitted to myself that was one man, I gave up the piano for a month. I figured it was hopeless to practice.
All art is communication of the artists' ideas, sounds, thoughts; without that no one will support the artist.
There's more bad music in jazz than any other form. Maybe that's because the audience doesn't really know what's happening.
Jazz is a music that really allows a person to express his deepest self, his most personal self - Africa being the primary source of jazz. Naturally, improvisation and swing are a part of jazz, improvisation being the key.
He's no Bill Clinton!
Without the beat in the background, Jazz basically sounds like an armadillo was let loose on the keyboard.
Communication is the essential medium of a creative culture: the communal sea in which we all swim. A company that can't communicate is like a jazz band without instruments: Music just isn't going to happen.
Next to jazz music, there is nothing that lifts the spirit and strengthens the soul more than a good bowl of chili.
It's sort of what jazz would be if it stopped being snobby and what rock would be if it stopped being stupid.
If it comes out sounding like Dixieland jazz or classical or punk or rock or even slightly metal, that's because that's where I'm going to find inspiration.
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.
So the whole basis for jazz music is based on the fact that the bass player could not play his instrument.
Bernstein grew up in my building in New York. He's a very, very fine player. When he was a kid, he came by to find out what was going on in the world of jazz.
There is an awful lot of what I call recreational jazz going on, where people go out and learn a particular language or style and become real sharks on somebody else's language.
Well, I had started a program which is even longer running than this one in 1967 which was a jazz program called The Best of Jazz and that still goes out on Monday nights. That's been going for 33 years or something.
You hear about the Duke Ellingtons, the Jimmie Luncefords, and the Fletcher Hendersons, but people sometimes forget that jazz was not only built in the minds of the great ones, but on the backs of the ordinary ones.
I started to play Jazz music in my early teens. A boyfriend brought records over, so I listened to everything
I think we are in the midst of this period where we are committing this suicide on the planet and everybody is just using up all of our natural resources like a bunch of insane people. That's what I worry about more than I worry about jazz.
Louis Armstrong is quite simply the most important person in American music. He is to 20th century music (I did not say jazz) what Einstein is to physics.
The real power of Jazz is that a group of people can come together and create improvised art and negotiate their agendas... and that negotiation is the art
Jazz, of course, is our heritage. Jazz is a culture, it's not a fad. It's up to us to see to it that it stays alive.
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