A Quote by Anat Cohen

I'm working really hard to get the clarinet out of that hole, that Benny Goodman thing. — © Anat Cohen
I'm working really hard to get the clarinet out of that hole, that Benny Goodman thing.
Benny Goodman was one of the big influences as a clarinet player. That's why I wanted the clarinet.
When I first met Benny Goodman he wouldn't talk about anything but clarinets, mouthpieces, reeds, etc. When I tried to change the subject, he said 'But that's what we have in common. We both play clarinet.' I said, 'No, Benny, that's where we're different. You play clarinet, I play music.'
Benny Goodman plays the clarinet. I play music.
Listening to Benny [Goodman] talk about the clarinet was like listening to a surgeon get hung up on a scalpel.
I started off playing the clarinet, after I was inspired by listening to my dad's Benny Goodman records.
The distance between me and Benny [Goodman], was that I was trying to play a musical thing, and Benny was trying to swing. Benny had great fingers; I'd never deny that. But listen to our two versions of 'Star Dust.' I was playing; he was swinging.
Above all else, [Benny Goodman] was a great player, one of the greatest American music has produced. He brought his absolute talent and his invincible love of music to the fore every time he played. There are many other things connected to society and ethnicity that are often mentioned in a discussion of Benny Goodman but all of them are connected to his overwhelming affection for the art of the music and the fairness it should be allowed to express.
Since the advent of Benny Goodman, there have been too few clarinetists to fill the void that Goodman left. Ken Peplowski is most certainly one of those few. The man is magic.
The brilliant explosion known as Benny Goodman went off in 1935, and it hasn´t gone out yet.
Everybody in Germany was for the -German cause. But then, after the war ended, when I heard the first Glenn Miller sound on the radio and these fantastic American music makers, I turned into a jazz fanatic. They called me Benny, after Benny Goodman. So, all of a sudden, the eyes of young Germans were opened to America - everything American was absolutely at the top of the list.
Benny [Goodman] used to practice 15 times more than the whole band combined.
I belonged to the Columbia Record Club, and that's where my records came from. For some reason, I was in the 'jazz' category. I got Benny Goodman records and Miles Davis, J.J. Johnson and Kai Winding, and that kind of stuff. I really was not a jazz guy at all, but I knew some of those names.
I love Glenn Gould. Max Steiner. John Williams. Louis Prima. Benny Goodman. Miles Davis. John Philip Sousa.
Human pride is a strange thing; it cannot easily be suppressed, and if you stop up hole A will peep forth again in a twinkling from another hole B, and if this is closed it is ready to come out at hole C, and so on.
The first memory I have was my sisters dancing to the radio when they played records by Benny Goodman and Harry James and of the sort. But the record that got me was a record by Derek Sampson, who was a young guy, called 'Boogie Express,' and it was boogie-woogie. Really, it was on fire, and that got me.
What's the need of working if it doesn't get you anywhere? What's the use of boring around in the same hole like a worm? Making the hole bigger to stay in?
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