A Quote by Benny Green
He would catapult you forward, and that was his intention with the Jazz Messengers. He would take young people with a potential and help them develop a voice as a player and as a writer.
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In terms of - my relationship with so many, many young people. I would - I would guess that there are many young people who would come forward. Many more young people who would come forward and say that my methods and - and what I had done for them made a very positive impact on their life. And I didn't go around seeking out every young person for sexual needs that I've helped. There are many that I didn't have - I hardly had any contact with who I have helped in many, many ways.
At a youth soccer game you'll probably hear parents and coaches on the sidelines yelling, 'Pass the ball! Pass the ball!' ... When we continually tell our young players to pass the ball, we're not allowing them to develop their full potential, especially those who have the ability to take their opponents on and beat them one-on-one. As a result, we run the risk of diminishing a player's artistry and potential.
'Jazz Artist of the Century' would have to be a distinctive soloist and ensemble player, a composer, an arranger, a bandleader, and a driver; would have to span all the genres and periods of jazz; would have to have run her own label; [would] possess a deep spirituality, with grace and a sense of humor; and would have to have succeeded against all odds. Who else? Mary Lou Williams.
In my opinion, no young player can develop his or her game to its highest potential if he or she rides around the course in a golf cart.
You cannot teach creativity - how to become a good writer. But you can help a young writer discover within himself what kind of writer he would like to be.
When you decide to go into coaching, obviously you don't forget why. That's to help develop young people, help them chase their dreams, help them reach their goals.
We don't live in a jazz world, unfortunately. I think if I had lived in a jazz world, I would have done OK. I'm not sure I would have done great. I'm a lover of jazz music, so I would have been happy, don't get me wrong. I go to jazz concerts like the biggest jazz fan in world. The drag is that I don't play jazz for a living.
I'm a pretty laid-back kind of guy. What I've always wanted to do is set up situations in our company where if people who worked there needed help, we would try to help them, and at the same token if the company needed help from people, they would help us. A kind of give and take.
I knew that I could sing when I was young. I would listen to a lot of jazz; I'm a big jazz fan. When I first got to high school and studied musical theater, I could sing. But I added certain things to my voice, and I realized after graduating high school that this is the kind of voice I had. It's not very nimble, but it's heavy.
I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!
I've always believed if a young guy has a chance to play, why would you explain where his weakness is? The only reason would be to help the other team, or to help a gambler.
My commodity as a writer, whatever I'm writing about, is me. And your commodity is you. Don't alter your voice to fit the subject. Develop one voice that readers will recognize when they hear it on the page, a voice that's enjoyable not only in its musical line but in its avoidance of sounds that would cheapen its tone: breeziness and condescension and clichés.
He is a very complete, spectacular footballer. He always fights for the ball and tries to lose his marker to help his team-mates - either to defend or to have a shot on goal. For any football player in the Premiership, Scholes is a player you want to emulate. I would happily end my career with the medals that Scholes has. I am young and I hope that I will be able to surpass him - but it is not going to be easy.
The expectation is this low, gravelly voice for John, but I went through his early recordings and there were songs in there where the voice was so different, I wasn't even sure if it was him singing, ... So it was interesting to me that we would see him develop the Man in Black sound. I thought it was really important that his voice change as his persona slowly solidified. The music was really the doorway into the character.
People ask me to describe how I play, and the most obvious answer is that I'm a jazz influenced guitar player. But I'm not a jazz guitar player. Wes Montgomery was a jazz guitarist, Joe Pass was a jazz guitarist (laughs).
If I wanted to develop a scenario to destroy America, I would do what the Republicans are doing. Take the brightest and best young black men off the streets, put them in jail, make them meaner than hell for 8 or 10 years and then turn them lose in a society where there are plenty of guns for them to play with.
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