A Quote by Dave Van Ronk
There is an apprenticeship system in jazz. You teach the young ones. So even if the musicians weren't personally that likable, they felt an obligation to help the younger musicians.
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Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.
To say that the Afro American created jazz doesn't mean anything bad about Anglo Americans, and I always teach my younger jazz musicians that at this point the entirety of the American tradition is your heritage, and you need to know it.
I always tell people that, just to be a bad jazz musician, you have to be better than most musicians. The worst jazz musicians are normally better than most musicians, because you have to know so much.
I just felt like women love musicians, so I thought that we should become musicians. It'll help my dating life.
You know as I started as a shy young conductor, I always wanted to cooperate. To build up the musicians. To help them to be better than without a conductor. And sometimes young talented musicians have to be encouraged.
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.
Personally, I think young musicians need to learn to play more than one style. Jazz can only enhance the classical side, and classical can only enhance the jazz. I started out playing classical, because you have to have that as a foundation.
Marijuana is taken by musicians. And I'm not speaking about good musicians, but the jazz type.
For me, let's keep jazz as folk music. Let's not make jazz classical music. Let's keep it as street music, as people's everyday-life music. Let's see jazz musicians continue to use the materials, the tools, the spirit of the actual time that they're living in, as what they build their lives as musicians around.
I'm thrilled when I hear the greatest jazz musicians. They continue to search in ways other musicians do not.
They taught us because they wanted to pass the knowledge on and educate young musicians. It was not because they had to teach because they failed as musicians. There is a huge difference in the reasons why someone is teaching and what they can offer and what they cannot offer.
Jazz scares me. I've witnessed so many incredible singers and jazz musicians. Pop and soul music have always been the things that I felt like I could do.
They [the teachers at European conservatories] taught us because they wanted to pass the knowledge on and educate young musicians. It was not because they had to teach because they failed as musicians. There is a huge difference in the reasons why someone is teaching and what they can offer and what they cannot offer.
We're genuinely happy if some musicians of this younger generation are influenced by our music, as we were ourselves influenced 10 years ago by older musicians.
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