A Quote by Dexter Gordon
In jazz, there is a lot of European influence harmonically.
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Jazz is an endless source of ideas, because you can use anything. You can play operatic arias. You can incorporate them into jazz. You can play gypsy music and incorporate it into jazz. You can European classical and you can incorporate it into jazz. You can use anything and jazz it up, as they used to say.
If one takes all the styles in jazz harmonically from the earliest beginnings to the latest experiments, he still has a rather limited scope when compared to the rest of music in the world.
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.
Jazz came out of New Orleans, and that was the forerunner of everything. You mix jazz with European rhythms, and that's rock n' roll, really. You can make the argument that it all started on the streets of New Orleans with the jazz funerals.
I've learnt new scales through playing different types of music, like Indian raga scales, gipsy scales and harmonically-based jazz scales.
In the end I'm in love with it [Western European easel painting]. And that's where a lot of the influence from the work comes from.
Coming from Haiti and growing up in Brooklyn, there's a lot of European influence when I get dressed up. I wear a lot of fitted suits, elegant cuts; I think it's cool to mash up a lot of different looks.
Jazz isn't as profitable for labels like Hip hop or Rap. Jazz needs subsidies to continue, just like European classical works of Bach and Beethoven are subsidized.
Of course we've lost so many superstars who've made jazz what it is. We've lost so many musicians who created new things and changed the way we think about music and who took jazz to a new level. So jazz is suffering from that. But we still have a lot of incredible people playing jazz in the world. We have a lot of people leading the way.
I was singing totally jazz then, but when I heard the Beatles and heard the gospel influence and everything, I just said, 'I can make jazz with R&B.'
Jazz isn't dead yet. It's the underpinning of everything in this country. Whether it's a Broadway show, or fusion, or right on through classical music, if it's coming out of the U.S., it's not going to survive unless it's got some jazz influence.
If you didn't have the amalgam of Blacks and African-type sensibility and European sensibility, you wouldn't have jazz. Even in the negative and in the positive ways - if there was no slavery and the abolition of slavery, there would be no jazz.
My grandfather was a massive influence in my music. Growing up, he would play a lot of old-school records to me. A lot of jazz and swing music, actually, growing up.
If I have to be considered any type of jazz artist, it would be New Orleans jazz because New Orleans jazz never forgot that jazz is dance music and jazz is fun. I'm more influenced by that style of jazz than anything else.
Kenny G is not real jazz. I don't even think Wynton Marsalis is real jazz. I don't think Harry Connick Jr. is real jazz. If there is such a thing as real jazz, The Lounge Lizards is real jazz, Henry Threadgill is real jazz, Bill Frisell is real jazz, you know?
Sometimes when I do a joke and it doesn't get a lot of laughs, it kind of feels like I'm doing jazz. That's kinda cool because jazz is cool, but sometimes jazz sucks ... Maybe I'm the Kenny G of comedy.
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