A Quote by Tim Jackson

The history of jazz for the last 45 years has come through the Monterey Jazz Festival stages. I think there's developed a legacy and an aura around the festival. — © Tim Jackson
The history of jazz for the last 45 years has come through the Monterey Jazz Festival stages. I think there's developed a legacy and an aura around the festival.
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.
Herb Wong was an incredible man. We met when I was performing with Clark Terry at the Wichita Jazz Festival around 1974.
Kenny G is not real jazz. I don't even think Wynton Marsalis is real jazz. I don't think Harry Connick Jr. is real jazz. If there is such a thing as real jazz, The Lounge Lizards is real jazz, Henry Threadgill is real jazz, Bill Frisell is real jazz, you know?
In 1987, I had no idea who Steven Isserlis was. We met at the Spoleto Festival in Charleston, South Carolina. It was originally just an Italian summer festival, but for the past 14 years, there's also been a spring festival in America.
I remember in 1968 when we were in Cannes, in the festival, and we were supposed to be there 10 days, and the second day the festival collapsed because the French, you know, film-makers raised the red flag in the festival and ended the festival.
The podcast 'A History of Jazz' began telling its story in February - 100 years after the recording of 'Livery Stable Blues' by the Original Dixieland Jazz Band, the start of jazz as a legitimate branch of music.
Only in Texas can mesquite have its own festival, then there's a crawfish festival, a festival for strawberries, everything has its own festival, with each town having their own yearly thing.
At Performa in New York, there are a lot of commissions, but Manchester Festival is the only festival where everything is fully produced by the festival.
I don't want to be defined solely by what I do as a jazz musician at a club or a festival. That's not all of me. It's not even close.
If I have to be considered any type of jazz artist, it would be New Orleans jazz because New Orleans jazz never forgot that jazz is dance music and jazz is fun. I'm more influenced by that style of jazz than anything else.
In Sweden we have a jazz festival, and I would try to see all these people like Angie Stone there when I was younger.
To most people, jazz-fusion means this dreadful synthetic jazz-rock thing, this jazz-Muzak, which I detest. They also think of jazz as a specific form of music, while to me it's just the opposite.
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.
Joe Sample was one of my heroes. I met him at the Curacao Jazz festival, and I fanned out like he was the Beatles!
With 'Half Nelson,' we went to Sundance and then we just bam, bam, bam, festival, festival, festival, festival and then we released in August.
Acting is a trick word invented in the festival of Dionysus, before Christ, in Greece at a fertility festival. That's where theatre came from: a fertility festival. No women were allowed. All the men played all the parts.
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