A Quote by Bria Skonberg
My first love of jazz came from joining the Chilliwack Middle School band - it was like an 18-piece jazz band, and I wanted to join just because the older kids looked like they were having so much fun.
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I got my first set of drums when I was around 3. I went from band to marching band to Latin jazz band - it's like riding a bike.
I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
In the Bay Area, there was a resurgence of Dixieland jazz in the '40s - there was the Frisco Jazz Band, and Lu Watters and the Yerba Buena Jazz Band.
I was in every band class I could get in, like after school jazz band and marching band, and that's where I really learned to read music from elementary all the way through junior high and high school.
Around middle school I studied jazz guitar and ended up playing in a jazz band for a bit. But, after high school, I haven't even touched a guitar.
My band, Miles Long, is a jazz-funk spoken word band. There's jazz sensibilities, but I'm a bass player, so I'm very much into the head-bobbing vibe with sophisticated lyrics.
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 have a big love for jazz music. The only thing I hated about singing with a jazz band was having to wear a gown to everything.
The way that we imitate each others' riffs is something that other bands don't do as much. If we're jamming with a jazz band, or I am jamming with a jazz band, I have to catch myself, the tendency is always to do that.
I was in a rock band; I was my own folk singer; I was in a death metal band for a very short time; I was in a cover band, a jazz band, a blues band. I was in a gospel choir.
Now, the instrumentation in the jazz band and the jazz dance band has gone through many evolutions. For instance, in the 'twenties the tradition was two or three saxophones.
Now, the instrumentation in the jazz band and the jazz dance band has gone through many evolutions. For instance, in the 'twenties the tradition was two or three saxophones
I was a jazz major in high school, in an all-jazz band. No matter what I do, it features my musical influences.
I was basically 18 when I got offered to join Mister Valentine band and go on tour and leave high school. I was pretty stoked on that, but the band wasn't really my style so after like six months of playing with them I decided to play with the aesthetic of a DIY hardcore band playing pop music. That was the original idea.
I haven't got a great jazz band and I don't want one. Some of the critics, Down Beat's among them, point their fingers at us and charge us with forsaking real jazz . . . It's all in what you define as 'real jazz.' It happens that to our ears harmony comes first. A dozen colored bands have a better beat than mine. Our band stresses harmony.
One interesting thing about jazz, or art in general, but jazz especially is such an individual art form in the sense that improvisation is such a big part of it, so it feels like it should be less soldiers in an army and more like free spirits melding. And yet, big band jazz has a real military side to it.
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