A Quote by Buddy DeFranco
When you're playing jazz, you have to somehow overcome that feeling of being intimidated because your aim is to portray that freedom in what you're playing.
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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.
The church we grew up playing at was not one of those churches known for its music, but it was just this all-around energy that would be happening because, at the same time we'd be playing in church, we'd be playing in the city jazz band under Reggie Edwards.
I came from being a singer going into jazz. And that's one of the things that polio did for me is it took away my ability to sing with a range because it paralyzed my vocal chords, so that was when I started playing. But I hear the music as if I were singing even when I am playing.
I got into playing the jazz. I played jazz for a good while. I did the popular stuff first. You got the "Twelfth Street Rag" and those kinds of things. Then I got to hanging around with a bunch of guys starting to playing jazz. We'd go from one place to the other and take our instruments, just perform for free.
When I was playing for Real Zaragoza, I had the responsibility that I was playing for the club that I support and that I love. When I was playing for Athletic Bilbao, I was feeling the responsibility to play for the most special philosophy in the world, which is only playing Basque people.
There's a certain - there's a different pressure with playing in a Ryder Cup. You know, you're not just playing for yourself. You're playing for your teammates. You're playing for your country.
Jazz is about freedom within discipline. Usually a dictatorship like in Russia and Germany will prevent jazz from being played because it just seemed to represent freedom, democracy and the United States.
Being able to win gold would be huge because you're playing for so much more than your team, your organization, or your city. You're playing for your country, and to be able to represent Team U.S.A. across your chest and go up there and compete, it's the highest honor.
The artist is very lucky, because in an art form that's spontaneous like jazz, that's when you really see your true self. And that's why, when I put down my instrument, that's when the challenge starts, because to learn how to be that kind of human being at that level that you are when you're playing - that's the key, that's the hard part.
My main theme as a songwriter seems to be a feeling of homelessness, of being in motion. The feeling of being somehow unmoored, a radical internal freedom that is very painful and also joyful.
The way I evolved was playing straight-ahead jazz into playing more fusion-type stuff just because I was young enough to get into it. As I get older, I find myself coming back to where I kind of started.
Improvisation sometimes seemed more like jazz than acting, like verbal jazz, with the actors playing a theme back and forth, and then introducing another theme, incorporating it, somehow trying to work their way all together to a meaning of some kind, or at least a conclusion.
Jazz is the big brother of the blues. If a guy's playing blues like we play, he's in high school. When he starts playing jazz it's like going on to college, to a school of higher learning.
The music has a better feeling when you're responding to what's going on. Music is like playing handball, playing catch with someone, not playing golf. Everywhere the ball bounces is where you respond to it.
Jazz should be recognized as music of the people, based in a lot of accents and melodies. What is jazz but music that people danced to? Jazz has the dynamic thing. I don't think you have to be playing only Charlie Parker licks on your horn or whatever the new version of that is.
His musical inspiration operates in a world uncluttered by conventional bar lines, conventional chord changes, and conventional ways of blowing or fingering a saxophone. Such practical 'limitations' did not even have to be overcome in his music; they somehow never existed for him. Despite this - or more accurately, because of this - his playing has a deep inner logic. Not an obvious surface logic, it is based on subtleties of reaction, subtleties of timing and color that are, I think, quite new to jazz - at least they have never appeared in so pure and direct a form.
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