A Quote by Paul Horn

You have to go out and learn jazz by playing. — © Paul Horn
You have to go out and learn jazz by playing.

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I got into playing the jazz. I played jazz for a good while. I did the popular stuff first. You got the "Twelfth Street Rag" and those kinds of things. Then I got to hanging around with a bunch of guys starting to playing jazz. We'd go from one place to the other and take our instruments, just perform for free.
When I started music, I started out in Puerto Rico with classical music. But what really made me want to be a musician was jazz, and because I didn't grow up with jazz, I had to learn it from a very basic level. I had to go into the history and learn everything about the development of the music, all the players and all that stuff.
Personally, I think young musicians need to learn to play more than one style. Jazz can only enhance the classical side, and classical can only enhance the jazz. I started out playing classical, because you have to have that as a foundation.
Jazz is very much alive. Everywhere I go there's a new generation of musicians playing Jazz music.
Jazz is smooth and cool. Jazz is rage. Jazz flows like water. Jazz never seems to begin or end. Jazz isn't methodical, but jazz isn't messy either. Jazz is a conversation, a give and take. Jazz is the connection and communication between musicians. Jazz is abandon.
I still go out, but not a lot. If I go to see music, it's usually to the Blue Note, jazz clubs, things like that. When I travel, I find out where the jazz clubs are.
I didn't plan on rock-n-roll. I wanted to learn jazz; I got to know some people doing rock-n-roll with jazz, and I thought I could make some money playing music.
We don't live in a jazz world, unfortunately. I think if I had lived in a jazz world, I would have done OK. I'm not sure I would have done great. I'm a lover of jazz music, so I would have been happy, don't get me wrong. I go to jazz concerts like the biggest jazz fan in world. The drag is that I don't play jazz for a living.
Even my colleagues don't read classic criticism. And my feeling is that if you don't do that then you're not really practicing your craft. That's how you learn how to do it. You don't learn how to write about jazz just from listening to jazz. You learn how to write by reading the great writers and how they worked, the great music critics.
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.
Jazz music should be inclusive. Smooth jazz to me rules out a certain kind of drama and a certain tension that I think all music needs. Especially jazz music, since improvising is one of the cornerstones of what jazz is. And when you smooth it out, you take all the drama out of it.
The Meters are, I think, the most influential group in our time to come out of New Orleans, to have changed and introduced us all to a way of playing, and to a groove and a level of feel in playing funk-jazz.
I don't like totally free jazz, unless it's done by somebody like Coltrane, who did bebop and cool jazz, so he was allowed to go out there.
The Ertegun Jazz Hall of Fame will provide a center where the lives and the artistry of the greatest jazz musicians will be celebrated, and where people will come to learn about jazz, something to which my brother devoted his life's work.
The Ertegun Jazz Hall of Fame will provide a center where the lives and the artistry of the greatest jazz musicians will be celebrated, and where people will come to learn about jazz, something to which my brother devoted his lifes work.
I took some lessons as a kid but trained myself by ear. I did it the way jazz musicians used to learn years ago, which is to play records and slow them down to figure out the notes. At first I tried to imitate Red Garland, who was my favorite jazz pianist.
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