A Quote by Apollo Robbins

I'm a jazz performer - I have to improvise with what I'm given. — © Apollo Robbins
I'm a jazz performer - I have to improvise with what I'm given.

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I love playing jazz because I love the freedom you have to improvise. It has given me a feeling in my classical repertoire of creating the atmosphere of the here and now.
Improvisation was the blood and bone of jazz, and in the classic, New Orleans jazz it was collective improvisation in which each performer, seemingly going his own melodic way, played in harmony, dissonance, or counterpoint with the improvisations of his colleagues. Quite unlike ragtime, which was written down in many cases by its composers and could be repeated note for note (if not expression for expression) by others, jazz was a performer's not a composer's art.
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.
I don't play the traditional Charlie Parker songs. But I do improvise and I do create with my instrument, and that to me is jazz. But there are people who use the word 'jazz' only in a traditional sense, and they would be offended by that, and that's fine.
I grew up in the funk, rock and roll, blues and r&b tradition, and I came to this thing we call jazz later. And I came to improvise music from the standpoint of jazz; I was improvising, but within these other genres of music.
Life is a lot like jazz... it's best when you improvise.
Life is a lot like jazz. It's best when you improvise.
I didn't want to admit that I was a performer. A performer meant spotlights - a performer had connotations of theater. I would have preferred agent to performer.
It's not enough to just be a good singer. You have to know where your roots come from. If you sing jazz, you should know all about jazz. You should look into, as much as you possibly can, the history of it, so that you're and educated and well-informed performer.
I remember the first time I was booked into a jazz club. I was scared to death. I'm not a jazz artist. So I got to the club and spotted this big poster saying, 'Richie Havens, folk jazz artist.' Then I'd go to a rock club and I'm billed as a 'folk rock performer' and in the blues clubs I'd be a 'folk blues entertainer.'
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.
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?
He's not a performer, he's not a composer, he's not even a musician, but Norman Granz is Mr. Jazz.
I wasn't a trained Mickey Mouse club performer. I played in jazz clubs and restaurants.
Jazz is something that's constantly changing. Its sole purpose is to let people improvise, to let them solo differently each time they play. And that's always been what I like best.
A jazz musician can improvise based on his knowledge of music. He understands how things go together. For a chef, once you have that basis, that's when cuisine is truly exciting.
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