A Quote by Clark Terry

[Sweets Edison] was one of the greatest stylists in Jazz of all time. And on top of that, when you listen to him, you say 'yes, that's Sweets' and you automatically smile. This is really unique. He changed the way how to play this instrument.
The amazing thing about Sweets [Edison] was that he exactly spoke the way that he played! He was really unique, the one and only. He was one of the greatest Blues players that I ever heard and played with. Nobody can play like Sweets man, nobody! Most of us, musicians, frequently quote Sweets' phrases in our solos. Like Lester Young, Sweets had a big influence on us musicians, especially when we play some Blues.
Nobody else even approaches the trumpet like [Sweets Edison] does: Never too much and always plenty. He's the greatest trumpet player to play along with singers. He exactly knows how to play with you, how to answer you about what you just sang ... On top of that, he has some great sense of humor, both as a musician and as a man. Every time I see him, I'm laughing so much. Sweets is impeccable and incomparable.
Sweets [Edison] can say more with one note than any other Jazz player alive... an approach that stresses simplicity, glorious tone, natural potency and an unmatched affinity. He is a unique stylist in our music.
Many critics always saw and heard that my style comes from Roy Eldridge, which is true. But for many things, not only how to play the trumpet but the way to choose the notes, how to play them and how to phrase all of them, I took that from Sweets [Edison]. He really brought something new to the trumpet.
A very few musicians passed across all decades. In terms of trumpet playing, Louis Armstrong does it of course but Sweets [Edison] is right up there too. He is unique, in every sense of the term.
I've had quite a lot of bad experiences with Japanese sweets. I reckon, Japanese...they can do most things really well but sweets, they're a bit dodgy.
I sing the sweets I know, the charms I feel, my morning incense, and my evening meal, the sweets of hasty pudding.
Tiffany knew what the problem was immediately. She'd seen it before, at birthday parties. Her brother was suffering from tragic sweet deprivation. Yes, he was surrounded by sweets. But the moment he took any sweet at all, said his sugar-addled brain, that meant he was not taking all the rest. And there were so many sweets he'd never be able to eat them all. It was too much to cope with. The only solution was to burst into tears.
Sweets with sweets war not, joy delights in joy.
"Jazz" to begin with, is a really bad word... all the true musicians that really play jazz, jazz is the worst word for it. Jazz is a process. Jazz is a creative process. It's not so much a genre, but a way of expression.
I think it all comes back to the individual. My instrument's just a pile of metal and wood! If you listen to the way I speak I have a lot of rhythm, use a lot of accents. When I'm playing my instrument that concept comes through very clearly. In fact some people who've seen me play have noticed that I'm singing - but it's more that I'm actually speaking. So it's not really about the instrument. But for me, in my thinking, the music is all about the melody. When I compose, 99 percent of the time I start with the melody.
The Schnauzer listens to jazz. I listen to jazz because he likes it, and I have even gone to jazz concerts with him, but truthfully I would rather listen to retarded children pounding on pan lids with wooden spoons.
Yes, Heaven is thine; but this Is a world of sweets and sours; Our flowers are merely?flowers.
We're [with Robbie Robertson ] jazz musicians. The context may be rock 'n' roll but it's still jazz. It's jazz and that means improvization...you play a tune the way it feels and you play it differently every time. It can never be the same.
I have some sweets now and then, but I wouldn't say I have a major sweet tooth.
The longing for sweets is really a yearning for love or sweetness.
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