Top 37 Quotes & Sayings by Jon Batiste
Explore popular quotes and sayings by an American musician Jon Batiste.
Last updated on December 21, 2024.
With so many ways to communicate at our disposal, we must not forget the transformative power of a live music experience and genuine human exchange.
The music is really about sharing an experience. That's why we call it Stay Human. It's like we're sharing this genuine human exchange.
Claude Debussy's 'Children's Corner' is a suite with six movements just for piano. Arturo Benedetti Michelangeli and Alfred Cartot's versions are amazing, but my favorite is Menininha Lobo's. Her version was done when she was an old lady - and you can hear it.
I played with Prince in 2010... the America tour. The one with Misty Copeland dancing on top of the piano! But Prince played the piano on that song. But I played two dates with him on that tour. When we played the gig, every couple of songs, Prince would change his clothes.
I'm from Kenner, Louisiana, where music is played for every occasion in life. There's music for being born, there's music for dying... It's just natural. Families get really good because they play a lot together.
Technology is something you have to embrace because technology is part of our generation. Digital natives, for instance, are people who grew up in a world that always had the Internet and who always had smartphones. Millennials aren't too far behind: my generation of people, who were in the mix of the Internet when it first came out.
The subway in New York is a great social experiment; there are so many races and ways of life sitting together on each car.
On the road, you can't really develop a personal life.
Jazz has a tradition that has enriched the culture in America. The intellectualism of it does nothing but make you think on a higher level and make you a better person if you engage in the music and let it do what it does when it is played at its highest level.
I'm from New Orleans, which is all about direct engagement out in the street with all the parades and Mardi Gras Indians and jazz funerals. I'm trying to take that and put it into my generation, a group that doesn't have enough joy and celebration in their lives.
There were so many people after that first 'Colbert Report' interview that were impressed by the synergy we had during the interview. People everywhere we'd go would say, 'You should be the bandleader; it would be great for jazz. It would be great for the music.' But I was completely against it.
In a live performance, it's a collaboration with the audience; you ride the ebb and flow of the crowd's energy. On television, you don't have that.
When the Beatles wrote 'Paperback Writer,' it couldn't have been the same old thing. You can hear so many influences in it, from the blues to Bach, and it's not just verse, chorus, verse, chorus, bridge chorus. They start off singing a cappella, almost like a Bach chorale, and the song goes into this bluesy guitar riff.
Whatever I do with music, I try to make it align deeply with the values and principles of who I am and what I believe the purpose of my life is.
I have seven uncles, and my dad played bass, they had a band together, that was the family band. And of course as the cousins got older, including myself, we joined a family band. All the cousins played. That's my heritage.
Jazz can accommodate so many things. Jazz is like the universe: it's been expanding since its creation, and it's connected to everything.
As far as music, Louis Armstrong is one of my heroes.
In the process of them developing this instrument, I've been playing the melodica in the style I would like the harmoniboard to be played, which is a mix between a harmonica and keyboard. I play with trumpet style techniques. I really like the mobility of being able to step off the piano and bring the music to the audience.
My sense of style is influenced by how I feel. I want to express myself because they see you before they hear you. You want to come on stage, and what you look like should represent the song you are playing or the set you are about to play or the message in your music.
Music is a tool that brings people together.
Imagine if you grew up in a place where your lineage was there for a hundred years, and part of the culture was to play music 50 percent of the time. You'd probably have a lot of musicians in your family too.
I think it's important for people to stay human and remember that genuine human connection is more fulfilling than anything that technology has to offer. We all have it within us, and music is something that can bring that out of us.
The Batiste family is a large musical family in Louisiana, out in New Orleans. People go to New Orleans, and if they go to any club, four days out of the week I guarantee you that you will find a Batiste playing in the ensemble.
In such a globally connected world, musicians now have the unique opportunity to express all of the cultural 'mash ups' we are experiencing these days. Akin to the blend of cultures that occurred in early 20th-century New Orleans that led to the birth of jazz, I believe that the world has reached a similar cultural turning point.
I was raised in the Catholic Church, and for me, the thought in the Bible and Christianity, and the spirit within that, is one of the guiding principles in my life.
The beauty of jazz is that it can accommodate all styles. You can take jazz and put rock in it, and it's still jazz.
It's not like the old competition that you had between Leno and Letterman. It's a friendly competition between Fallon and Stephen.
There's a tradition - in New Orleans it still exists - where people play in the street. People play outside of the venues. Food, music, and that cultural exchange, it happens anywhere.
I'm always about trying to fill a need with what I do in my artistry. There is definitely a need in the performing arts world for a movement to come along that seriously connects with a next generation audience while still maintaining the timeless artistic objectives present throughout the history of the American music tradition.
We are in a technological age, and 'Social Music' aims to reflect that spirit of advancement, collaboration and connectivity while still remaining 'human.' And Stay Human, then, is a reminder of what connects us all. It's our mantra.
We played Carnegie Hall, and that was one time where I felt... Carnegie Hall as a legendary, very venerable place to perform. I'd never heard of anyone going into the Hall and kind of standing on the seats and playing throughout the aisles and having the audience stand on the seats. So when we did that in 2013, even for me it was a shock.
You can't hate the person next to you when you're laughing and dancing together.
My whole way of looking at entertainment and audience engagement - and my ability to go from one genre to another - comes from my experience in New Orleans.
Earliest musical memory is probably being scared stiff with my family's band as a youngster on stage playing the conga drums.
The thing about Spike Lee... that's a deep experience to work with someone who is that intense and knows their vision that well. The character I play in 'Red Hook Summer' is super country and super loud. I suppose he is some version of myself.
I still consider myself to be introverted, but everyone has a side of themselves that is amplified. Performers have to learn to tap into that, even if it's not natural.
Early American music and early folk music, before the record became popular and before there were pop stars and before there were venues made to present music where people bought tickets, people played music in the community, and it was much more part of a fabric of everyday life. I call that music 'root music.'
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