A Quote by Aaron Diehl

I really want to bring ensemble playing back to the forefront - not just for me, but for everyone in jazz. When you have a group, a true co-op group, you can really heighten the possibilities of all the treasures of jazz.
"Jazz" to begin with, is a really bad word... all the true musicians that really play jazz, jazz is the worst word for it. Jazz is a process. Jazz is a creative process. It's not so much a genre, but a way of expression.
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.
You get this really cool groove when you're playing just piano, bass, and drums where everyone's sort of feeling each other's space, which is the only way to put it, but it really is true, and everyone's sort of sitting in their own pocket. It's kind of jazz-like.
I really enjoy going out with my jazz group. That's something that I don't ever want to stop doing.
In the early days of jazz, it was ensemble music: everybody playing all together. Nobody really stood out.
The people at Jazz at Lincoln Center are an amazing group and have done a phenomenal job teaching kids and audiences of all ages about jazz.
I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
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.
If you are in an improv jazz ensemble or a small chamber group, you learn to think fast on your feet and how to be flexible and to collaborate and compromise, and that may yield a creative outcome.
I don't think I've ever been true to jazz. There's always a kind of jazz element to what I do. There are a very few genres that I haven't tried out, really, in what I've been doing. As a jazz musician, you can kind of mess about with things with a certain level of musicianship, which helps.
I once tried to sing jazz for real. But jazz didn't do it for me. You can't have jazz without a jazz world, which doesn't exist anymore.
Jazz shouldn't have any mandates. Jazz is not supposed to be something that's required to sound like jazz. For me, the word 'jazz' means, 'I dare you.'
I always leaned toward free jazz... experimental jazz and progressive jazz. I feel like jazz is just part of the flavor and palette that you have as a musician to experiment with.
I'd much prefer to hear somebody like Ed Thigpen [drummer with New York session group Stuff, and featured on innumerable hits] take a solo. I mean, that's what it is. I'd much rather hear that than the jazz/rock thing because it's blowing an aspect of jazz that I really like...the level where you can snap your fingers to it and you can groove to it. You can do anything to it.
It's the group sound that's important, even when you're playing a solo. You not only have to know your own instrument, you must know the others and how to back them up at all times. That's jazz.
Just because I'm playing jazz I don't forget about me. I play or write me, the way I feel, through jazz, or whatever.
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