A Quote by Quincy Jones
If you started in New York you were dealing with the biggest guys in the world. You're dealing with Charlie Parker and all the big bands and everything. We got more experience working in Seattle.
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I'm dealing with Mexico, I'm dealing with Argentina. We were dealing in this case with Mike Flynn. All this information gets put into The Washington Post and The New York Times, and I'm saying, what's going to happen when I'm dealing on the Middle East? We've got to stop it. That's why it's a criminal penalty.
What does New York sound like? For me, the Charlie Parker at the Royal Roost recordings on the Savoy label are the total embodiment of the New York music experience.
The minute you're working with the government, you're dealing with bureaucracy, you're dealing with time lags, you're dealing with rigidity, you're dealing with a slow pace.
[Charlie Parker] was kind of a sponge and intrigued by it all.That's similar to what Phil [Woods] told me about Bird, too. Like he was into cooking. He was just into a lot of things. Yeah, it's about dealing with bebop and jazz and Trane [John Coltrain] and post-Trane and knowing the history. But you've got to live. You have to experience things. Know something in this world. So it was a very deep education about what it means to try and be an artist.
I went up to his [Hank Jones'] house and there were four guys there: Dizzy Gillespie, Charlie Parker, Bud Powell, and Max Roach. Not a bad place to be. Scared shitless, but a nice place to be on my second day in New York.
For me, growing up in New York, it started with Elvis Costello and the Clash and then got into louder things like Bad Brains and Stimulators, because those were, like, the local bands. Then I started getting into bands from England like the Slits. I remember seeing Gang of Four at Irving Plaza; that was a really big show for me.
For the most part you are dealing with jealousy, you are dealing with love, you're dealing with hatred, you are dealing with revenge and all of these sort of classic things.
In '83 I started travelling round Europe with my slide show. It wasn't until I moved to Europe and got accepted in a big way in Berlin in the '90s that I got acceptance by the big art world in New York. I didn't really get to be known, or in the market, til '93 in New York.
[Charlie "Bird" Parker] would sit down and ask [Phil Wood], "What do you think about this whole secondary Viennese school with Schoenberg, Berg and Webern? Are you listening to that music and what do you feel about it?" These were the conversations that he was having. And he also said, what he learned from Charlie Parker was, not that he studied with him in the formal sense, is that the first thing that Charlie Parker would always ask was, "Did you eat today?".
I learned that in dealing with things, you spent much more time and energy in dealing with people than in dealing with things.
Whether you're dealing with your allies in Europe or you're dealing with a resurgent Russia, whether you're dealing with Iran or North Korea, you have to use the whole panoply of national tools of power to deal with the challenges the world faces.
Anyone who grew up in the crack era - you know, I grew up in that era - knew that there were also people out - and there are still guys to this day that are out there, you know, obviously drug dealing - but those were the guys who had access and had money. And some of those guys felt responsible to create opportunity for other people and were also aware of the dangers of their work and often aren't really the ones that are encouraging kids to get into drug dealing.
Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.
Both the old and new physics were dealing with shadow-symbols, but the new physics was forced to be aware of that fact - forced to be aware that it was dealing with shadows and illusions, not reality.
You're dealing with the body, and you're dealing with bodily functions. We romanticize everything about people in movies.
Charlie Parker was the greatest individual musician that ever lived. Every instrument in the band tried to copy Charlie Parker, and in the history of jazz there had never been one man who influenced all the instruments.
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