A Quote by Freddie Hubbard
Man, you'd be surprised how much I'm learning - not only about myself, but about the musicians who came before me. You don't realize at first when you listen to Armstrong's records how great this man was and how hard that Hot Five music was to play. After the experience of reading and playing those parts, I have an even greater respect for Louis Armstrong than before
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I think that anybody from the 20th century, up to now, has to be aware that if it wasn't for Louis Armstrong, we'd all be wearing powdered wigs. I think that Louis Armstrong loosened the world, helped people to be able to say "Yeah," and to walk with a little dip in their hip. Before Louis Armstrong, the world was definitely square, just like Christopher Columbus thought.
I love Ray Charles. He can still teach everybody a lot about how to make great music. Not necessarily how to make hits, but how to make great music. Of course, part of it is his incredible talent. Who are the greatest jazz singers in the world? Louis Armstrong, Billie Holiday and Ray Charles.
I actually wanted to be a jazz musician first. My grandparents introduced me to Louis Armstrong. I loved Louis Armstrong so I took up the trumpet and just did that every day and practiced that.
It doesn't matter if it's jazz or not. It's about how we listen, how we interact, how we guide our attention when we're listening, and how we can refine what we're doing musically. Also how we can create our own music, and what opportunities that can bring us, as creative musicians. And then insisting that musicians put themselves through an intellectually rigorous process, which involves a lot of reading and writing, while insisting that music scholars think about ethics.
I had a dream that Louis Armstrong was playing the 'Swept Away' melody. I have no idea where it came from. But Louis Armstrong was playing it and singing the song to me. I woke up-it's a borrowed melody no doubt-and wrote it down. If I hear a song and I choose not to put it down, that's me neglecting to accept that song. I think there's a very spiritual and godly-type ting that happens, and it happens to way more people than we know. It's just that very few of us choose to engage it.
My school music teacher, Al Bennest, introduced me to jazz by playing Louis Armstrong's record of "West End Blues" for me. I found more jazz on the radio, and began looking for records. My paper route money, and later, money I earned working after school in a print shop and a butcher shop went toward buying jazz records. I taught myself the alto saxophone and the drums in order to play in my high school dance band.
When I was a young man, I shined the shoes of Louis Armstrong and Louis Jordan! Music was just everywhere like that. And in my family, everyone could play something, and if they couldnt play, they could sing.
I did a 20-minute selection of scenes from the play 'Spring Awakening' in college, well before the musical came around, so when the musical was becoming a hot thing, and I was reading interviews with Duncan Sheik about how he came to do the music, I think it's interesting.
The musicians, Duke Ellington, his thing was not about separating himself from the rest of America. Louis Armstrong - go to the forefathers of our music - Jelly Roll Morton - they're not preaching a separatist agenda. They're not taking their music and saying, "This is for me."
Sixty-five percent of Americans don't have the conversation with their children. So you're sending off boys and girls off to college, off to high school, off to wherever they go, and nobody's had the conversation about how to conduct themselves. About a man telling his son how to be a man. How to respect a woman. How do you respect yourself?
My dad always pointed out Louis Armstrong's pad when we passed by there. And me and my dad were both proud Louis Armstrong was from New Orleans.
I am black: I am the incarnation of a complete fusion with the world, an intuitive understanding of the earth, an abandonment of my ego in the heart of the cosmos, and no white man, no matter how intelligent he may be, can ever understand Louis Armstrong and the music of the Congo.
Many musicians are fabulously skilled at playing the black dots on the printed page, but mystified by how the dots got there in the first place and apprehensive of playing without dots. Music theory does not help here; it teaches rules of the grammar, but not what to say. When people ask me how to improvise, only a little of what I can say is about music. The real story is about spontaneous expression, and it is therefore a spiritual and a psychological story rather than a story about the technique of one art form or another.
The guitar is a means of expressing music, When you get into the emotional side of it, then it's not the guitar that matters so much as the music itself. But the guitar is the vehicle I use. It's how I express myself. As for the emotional side, music takes up where language leaves off. To try and verbalize what music says, emotionally and spiritually, is futile. Let me put it this way, Louis Armstrong once said if you've got to ask, you'll never know.
I saw more clearly than ever, that the first great and primary business to which I ought to attend every day was, to have my soul happy in the Lord. The first thing to be concerned about was not, how much I might serve the Lord, how I might glorify the Lord; but how I might get my soul into a happy state, and how my inner man may be nourished...I saw that the most important thing I had to do was to give myself to the reading of the Word of God and to meditation on it.
In spite of all these disquieting triumphs in the field of natural science, it's astonishing how little man has learned about himself, and how much there is to learn. How little we know about this brain which made social evolution possible, and of the mind. How little we know of the nature and spirit of man and God. We stand now before this inner frontier of ignorance. If we could pass it, we might well discover the meaning of life and understand man's destiny.
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