A Quote by Benny Carter
In all honesty, I think I just played what I felt was right for me. And I think I would have done the same thing, even if I'd been born later, when Charlie Parker was influencing everybody. The truth is, I never gave it much thought. I just played what I had to play.
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I was angry with him before. I’m not really sure why. Maybe I was just angry that the world had become such a complicated place, that I have never known even a fraction of the truth about it. Or that I allowed myself to grieve for someone who was never really gone, the same way I grieved for my mother all the years I thought she was dead. Tricking someone into grief is one of the cruelest tricks a person can play, and it’s been played on me twice.
[Charlie "Bird" Parker] would sit down and ask [Phil Wood], "What do you think about this whole secondary Viennese school with Schoenberg, Berg and Webern? Are you listening to that music and what do you feel about it?" These were the conversations that he was having. And he also said, what he learned from Charlie Parker was, not that he studied with him in the formal sense, is that the first thing that Charlie Parker would always ask was, "Did you eat today?".
I remember one particular occasion when I hadn't played a solo for, quite literally, a couple of months. And I was asked to play a solo on a rock & roll thing. I played it and felt that what I'd done was absolute crap. I was so disgusted with myself that I made my mind up that I had to get out of it. It was messing me right up.
When we played at Celtic Park for Bayern in the Champions League it was unbelievable and I think all our players said the same thing afterwards. The atmosphere was just totally unique. I’ve played in lots of big games and stadiums but I’ve never witnessed fans making that much noise in 90 minutes.
I didn't know what the hell Charlie Parker was playing... I just liked the way he played.
I don't care who likes it or buys it. Because if you use that criterion, Mozart would never have written Don Giovanni, Charlie Parker would have never played anything but swing music.
Or I could see Fish, Just a button up, Like a Mayor, Like a President, Just demands so much from his teammates, Has played with so many great players, But still respects everybody. He's 38 years old, And he has nothing else to prove, And I said, "Fish you wanna come get some shots up with me?" And first thing he says is "Yes." He always wants to learn. Even though he's done so much in this league, Played with so many great players, He always wants to learn, And that motivated me To know that it's never a point Where you can stop getting better. And he's a guy that made me realize that.
Charlie Parker was the greatest individual musician that ever lived. Every instrument in the band tried to copy Charlie Parker, and in the history of jazz there had never been one man who influenced all the instruments.
I don't care who likes it or buys it. Because if you use that criterion, Mozart would have never written Don Giovanni, Charlie Parker never would have played anything but swing music. There comes a point at which you have to stand up and say, this is what I have to do.
I do have a son. He's out of school now. He never played football. And it had nothing to do with me. I was actually crushed that he didn't play football. I thought, 'Oh my God, this is awful.' My brothers all played football. My dad played football.
By the latter part of high school, by the middle of junior year in high school, Jay Rodriguez played me some Irakere records that that Paquito [D'Rivera] was on. And he also played me and our friend, Curtis Haywood, some Phil Woods records. And when I heard Phil, I just about lost my mind. I was playing the Charlie Parker Omnibook as part of my lessons. This was the '80s. There was no YouTube and all that. And we had three or four jazz records at that point.
I know when I left the game, I could have played more. There is no question. I think I could have played at a very high level, too. But I could not play the way everyone wanted me to play. And I was not willing to compromise what I felt was a standard that I had established in this league and, particularly, for our fans at home.
One of the first roles I had on stage was with a brilliant director in a brilliant play with a brilliant cast, but I just couldn't find my way into the heart of the character. I found myself straining a lot. When it started. I felt lost. That was the Eugène Ionesco play Rhinoceros. I don't think I was prepared for that. I don't think I had the full tool kit to do it justice. It's a very difficult play, it's an extraordinarily difficult part, and I never felt I really got it right. Far from it. To a degree, Hamlet was the same.
The first thing I think I ever played in public, aside from singing in church, would have been - and this is a true story - when I was about nine or 10 years old, I was obsessed with Twin Peaks. I played the theme from Twin Peaks on a little tiny Casio keyboard. People politely applauded. I just fell in love with that song and thought it was very heartbreaking.
I played [baseball] in college, so it wasn't that much a stretch. But I would say the main thing for guys who hadn't played before it's just one word - swagger. If you have swagger on the field, and look like you know how to play, that's 90% of it.
I've never really not played the piano. I've played it since I was six or seven and it's something I've always done - I don't think I could ever really play anything else, I would be a bit out of it without a piano.
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