Top 66 Quotes & Sayings by John Zorn
Explore popular quotes and sayings by an American composer John Zorn.
Last updated on December 23, 2024.
I don't ascribe to the idea of the ivory tower composer who sits alone in a room composing his masterpieces and then comes down from Mount Sinai with the tablets. It doesn't work like that. The job of a composer is putting something down on a piece of paper that will inspire the person who's playing.
Music is about people for me. It's not about sounds. It's about people; it's about putting people into challenging situations. And for me, challenges are opportunities.
I'm constantly tortured, and that's why I say happiness is irrelevant. Happiness is for children and yuppies.
I used to look at composing music as problem solving. But as I get older, it's not about problem solving anymore. There are no solutions, because there are no problems. You just turn the tap and it flows out.
I'm not striving for happiness, I'm trying to get some work done. And sometimes the best work is done under doubt. Constantly rethinking and re-evaluating what you're doing, working and working until it's finished.
That is a lot of the reason I do what I do, to really spread the word and spread information and turn people onto different things they may not be, y'know, aware of. That is what Naked City is certainly about.
I have not practiced saxophone since 1980. I mean, not one note. I do not pick it up in my house, and that's the end of it.
I create work, and I devote myself to the creative process, and I try to, you know, stay pure in that process and be worthy of the messages that I receive.
You can't sit down and write 300 compositions in a three-month period and think that you're doing it all by yourself. Obviously, there's something going on here. And whether you want to call it channeling or being connected to a creative force or knowing your history and knowing where you belong, that's, you know, maybe a personal thing.
You can't be idealistic in this world and not be crazy.
I'm getting ready to write a piece now, and it's been six months thinking about it, changing the instrumentation, changing the name, doing more reading.
I see myself and many artists like me as the torchbearers through these dark ages.
My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.
Each record in the 'Book of Angels' series is meant to be unique in terms of the compositions.
I don't play favorites with people. My basic philosophy is that the only way to make the world a better place is by bringing something beautiful to every single person you run into at every moment of the day, so how can you play favorites with somebody?
And I try to be as diplomatic as I can, but it always ends up being a psychodrama up there on stage.
That's where I began to ask questions that maybe don't have one specific answer. And the more people you get answers from, the richer the environment becomes.
I have about two or three people, we don't have an office, we don't even have a dedicated phone line. We do it out of our own homes, and we make it work.
People sometimes have a very hard time accepting change.
Anything that gets in the way of my focus to create gets cut out of my life. It's not easy. Sometimes it's family. Sometimes it's friends. Sometimes it's the ability to have a relationship.
I started the label Tzadik to support an entire community of musicians, not just Jewish musicians. But the radical Jewish culture movement was begun in a lot of ways because I wanted to take the idea that Jewish music equals 'klezmer' and expand it to, 'Well, Jewish music could be a lot more than that.'
I run around, I listen to a lot of music, go to a lot of concerts. And when I see someone that gases me, I try to go out of my way to involve them somehow in what I'm doing or get involved in what they're doing.
Like you have seven people with their hands up. I gotta make a choice. Y'know, that's tough. Sometimes I gotta go with someone that has an idea and make several calls in a row, because they got an idea.
The magic that you find in surf music, I think, is really timeless. You know, when I was very young, I was in a surf band. Surf music is an instrumental music that still means a lot to me, not in an nostalgic way, but as something that really gets to the heart of the guitar itself.
It's a blast to watch. It's a lot more interesting live than it is on record. I mean, it really is a theatrical event. It's a sporting event! Cause you never know what's gonna happen.
I have wit in my work and a sense of humor, but I do not use irony in any way.
As soon as you get a certain amount of attention, then everybody kinda wants to start taking pot shots at you. All your old friends that supported you don't support you any more.
It breaks even. We lose ten, twenty grand every year. But then the people who are working say, Look, I'll kick this back in, I don't need to take this profit share. It's very cooperative.
One of the reasons I started Tzadik, which is my own label, is to keep things in print. I got tired of labels dropping things out of print when they don't sell.
That was my challenge as a composer. Like with anything, to keep yourself interested in doing what you do, you set yourself challenges. So I said, Okay, I'll try to write a hundred tunes in a year.
Great musicians accept everything that they hear and find something good. They take what they like and they throw away what they don't like.
You know, when we were kids, we had to go to a theater to see a movie. And then television came in and you had to wait until midnight to see the one you wanted to see. Now, all you've got to do is go to a store and buy it and you can watch it whenever you want!
I don't control it at all. It's all up to the musicians in the group. They control it. They make all the cues, and they tell me what they want, and then I act like a mirroring device so that everyone can see what the cues are.
It's a matter of keeping people on a spontaneous edge.
No one sits in front of a drum set and thinks they invented it all out of whole cloth. The fact that the set is there means that you've got some dues to pay to Baby Dodds.
One thing that I do ask myself when I'm in the creative process is, 'Does the world need this?'
What happens when you get to the age of 60 is that you have no more doubts. I know why I'm here on this planet. I know what I need to do. I know what is a distraction and what isn't.
Well, in Japan, I have got a group of musicians that I have worked with a lot, that concentrate just on the hardcore stuff, say, that Naked City has been working on. We have like a repertoire of sixty songs now.
The idealists will always be in society, and we will survive.
Classical stuff takes a lot of rehearsal time and preparation, but with stuff that involves improvisation, you can over-rehearse it and it gets stale. You don't want it to be too comfortable. In fact, a good sound check, a good rehearsal usually means a bad performance.
If someone is a straight jazzhead, or a straight metalhead, or straight classical, they have a very narrow range of what they allow into their lives. But the people who listen to what we put out into the world have to be open-minded. Because we're so pluralist.
For about seven years. I really like it there. There are a lot of great musicians. The scene is very open. A lot of stuff going on. People's ears are really open, they are not closed. A lot of scenes here, people just get tunnel vision and are into one thing.
Man, Dick Dale shreds. He's welcomed to anybody's bar mitzvah.
Eye was a great discovery. He is one of the great vocalists of all time.
I put together the influences of my life in as clear a way as I possibly can, in the same way that Beethoven or Schoenberg or Bach put their influences together.
When I'm writing, sometimes it gets to that place where I feel like the piece is writing itself and I'm trying not to get in the way.
When I'm writing, sometimes it gets to that place where I feel like the piece is writing itself and I'm trying not to get in the way
I mean I have had a very combative relationship with critics because I'm very impatient with people that don't give my work the respect I feel it deserves.
People are great. But there's people who you get together with and you talk and you go away feeling energized, you feel inspired. And then there's people who you talk with and you go away feeling horrible, feeling drained, feeling like you're incapable of doing anything. Those people are psychic vampires and I now stay away from them.
If you can make art with sound, can't you make music with objects?
The idealists will always be in society, and we will survive
You need to believe in something that's bigger than yourself. I think that's what everybody wants to believe in that.
I was always an outsider, proud of being an outsider. I always reveled in the outsiders.
I’m constantly in doubt about what I’m doing, I’m constantly tortured, and that’s why I say happiness is irrelevant. Happiness is for children and yuppies. I’m not striving for happiness, I’m trying to get some work done. And sometimes the best work is done under doubt. Constant rethinking, and reevaluating what you’re doing, working and working until you feel it’s finished. And that’s an interesting point too, that you’ve got to know when to stop. Sometimes there’s a magical moment when everything comes together.
Great musicians accept everything that they hear and find something good. They take what they like and they throw away what they don't like
I feel like there are messages. I feel like there are angels. I feel that there is a legacy and an energy. And I feel that it's possible to tap into that.
I have a very beautiful life with great friends and I look forward to waking up every day. Every day is a vacation but every day is a workday. I don't want to take vacations because music is my life and if I escape from music, that's the same thing as death. So a vacation is death to me. Sitting on the beach for a week is my idea of hell. That would kill me.
We're not on the outside looking in, we're on the outside looking out.
Discipline is important as long as you're having a good time. What I always did was I did what I enjoyed, and I think that's why I don't have any grey hairs.
I have art. I have music. I have the history, this legacy behind me that I can look up to. This is what I believe in. If you want to call it God or spirituality, that's all up to you. Basically I believe in something that's bigger than myself, and that gives my life meaning.
Related Authors
Alexandre Desplat Quotes
French
Composer
Andrew Lloyd Webber Quotes
British
Composer
Anu Malik Quotes
Indian
Composer
Henry Mancini Quotes
American
Composer
Igor Stravinsky Quotes
Russian
Composer
John Cage Quotes
American
Composer
John Walter Bratton Quotes
American
Composer
Krzysztof Penderecki Quotes
Polish
Composer
Ludwig van Beethoven Quotes
German
Composer
Michael Giacchino Quotes
American
Composer
Pauline Oliveros Quotes
American
Composer
Ramin Djawadi Quotes
German
Composer
Richard Wagner Quotes
German
Composer
Ryuichi Sakamoto Quotes
Japanese
Composer
Stephen Hough Quotes
British
Composer
Stephen Sondheim Quotes
American
Composer