A Quote by Buddy DeFranco

Artie Shaw was way ahead of most clarinetists and most jazz players. — © Buddy DeFranco
Artie Shaw was way ahead of most clarinetists and most jazz players.
Despite his [Artie Shaw's] affectations of reclusiveness, he never tired of talking about himself, as countless long interviews reveal. I do not recall an anecdote he ever told me that was not in some way intended to convey a sense of his own superiority to everyone. . One wonders how a person of his character could produce such beauty.
What matters most is that the team always comes ahead of the players.
To most people, jazz-fusion means this dreadful synthetic jazz-rock thing, this jazz-Muzak, which I detest. They also think of jazz as a specific form of music, while to me it's just the opposite.
My style is a little quirky. I can't play as fast as most professional jazz players.
Most jazz players work out their solos, at least to the extent that they have a very specific vocabulary.
I've always felt that most jazz artists don't need producers .. most jazz artists know what kind of sound they want. They don't need a producer to come in there and tell them, "Oh, I think you should do this." I've always found it very strange that there's been such a thing as producers in jazz.
Artie is going to do what ever Artie wants to do.
I believe I am strong mentally. My breaking points might be bigger than most players. I think it's because of the way I grew up with my two older brothers. They pushed my limits quite often - once every day, I think! I think that played a big role in my breaking point being bigger than most players. Not all players.
I was nearing the end of childhood when I started to pay real attention to jazz singers. Women excelled as jazz singers; they surpassed most of the men. Black women excelled as jazz singers; they surpassed most of the whites.
One of the most obvious aspects of the music to people who know jazz is: How does it feel in the swing? These are things that are very subtle and that jazz musician appreciate in a particular way. I appreciate the way Tommy Flanagan swings, the way that Barry Harris swings, the great pulse that Hank Jones and Bill Evans have - end every one of them is different.
I think that drummers have come a long way, but they haven't forgotten players like Gene Krupa, or the other jazz players.
Since the advent of Benny Goodman, there have been too few clarinetists to fill the void that Goodman left. Ken Peplowski is most certainly one of those few. The man is magic.
I only ever call up the best players, or at least the players who are the most suited to the way I wish to play.
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).
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.
In most writers, style is a welcome, an invitation, a letting down of the drawbridge between the artist and the world. Shaw had no time for such ruses. Unlike most of his countrymen, he abominated charm, which he regarded as evidence of chronic temperamental weakness.
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