A Quote by Andrew Bird

There's been this perception that Europeans still hold on to, that they discover the real talented ones in American culture and give them proper credit and that's not true anymore - it used to be. A lot of jazz musicians would get respect in Europe.
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.
Europe was a very contentious subject in literature and yet jazz musicians still depended on Europe. Now it's not such a big deal.
There is a certain amount of righteous indignation I hold for the American culture, because to get back to the real root of it, to get broader about it, my opinion that is my species - and my culture in America specifically - have let me down and betrayed me. I think this species had great, great promise, with this great upper brain that we have, and I think we squandered it on God and Mammon. And I think this culture of ours has such promise, with the promise of real, true freedom, and then everyone has been shackled by ownership and possessions and acquisition and status and power.
I think jazz was just seeking respect and validity because a lot of people didn't believe it was a viable art form, and then they got a lot of attention in Europe. A lot of bands that can't catch flies in the US have these followings in Europe, [but] it's less and less the case. American audiences are way more sophisticated and adventurous than anyone thinks that they are.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.
I deliberately try to carry a different perception of myself as opposed to my father's. I respect my dad and his body of work, but I can't give him credit for what I am today. As a person, I give my parents full credit; career-wise, no.
Europeans really provided many venues over there and hailed the jazz artists, and a lot of musicians went over there and stayed over there for a long time. A lot of them moved over there, lived over there, and died over there.
Because the blues is the basis of most American music in the 20th century. It's a 12-bar form that's played by jazz, bluegrass and country musicians. It has a rhythmic vocabulary that's been used by rock n' roll. It's related to spirituals, and even the American fiddle tradition.
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?
It had the effect of cementing the Anglo-American alliance. What's the good of having bases if when you want to use them you're not allowed to by the home country. It made America realise that Britain was her real and true friend, when they were hard up against it and wanted something, and that no one else in Europe was. They're a weak lot, some of them in Europe you know. Weak. Feeble.
An American credit card is just as good in Europe as American gold used to be.
Lars Ulrich is not a jazz drummer, but he grew up listening to jazz. Why? Because his father, Torben - an incredible tennis player - loved jazz. Jazz musicians used to stay at their house.
Of course we've lost so many superstars who've made jazz what it is. We've lost so many musicians who created new things and changed the way we think about music and who took jazz to a new level. So jazz is suffering from that. But we still have a lot of incredible people playing jazz in the world. We have a lot of people leading the way.
If it wasn't for the British musicians, a lot of us black musicians in America would still be catchin' the hell that we caught long before. So thanks to them, thanks to all you guys. You opened doors that I don't think would have been opened in my lifetime. When white America started paying attention to the blues - it started opening a lot of doors that had been closed to us.
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.
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