A Quote by Frederick Lenz

My own musical background is based in the blues, and in classical composition. I grew up listening to Muddy Waters, John Coltrane, Miles Davis, Beethoven and Bach. — © Frederick Lenz
My own musical background is based in the blues, and in classical composition. I grew up listening to Muddy Waters, John Coltrane, Miles Davis, Beethoven and Bach.
I grew up listening to my parents' albums. Many of them were either classical - Bach, Beethoven and Brahms - or easy listening, like Mantovani. I loved the spectrum of emotions in classical music, from fortissimo to pianissimo. My early passion for classical made my drumming more musical later on.
I grew up in a family that was very musical, learned the blues and everything like that. And I became a little bit frustrated with the simplicity of rock n' roll and blues. I started listening to a lot of classical music - mainly Bach, Vivaldi.
Ray grew up in Chicago so he had the blues, Muddy Waters and all that. He also had classical training. That was pretty cool. That was invoked in the intro to 'Light My Fire,' which was very kind of Bach-like.
I grew up listening to Muddy Waters and Howlin' Wolf and lots of blues, R&B and Motown.
My grandmother was a classical pianist, so I grew up with Schubert, Mozart, Beethoven. I studied piano as a kid. My musical background and upbringing was very much a mix.
I grew up on Bach and Beethoven, and now I'm listening to more modern composers who I can't even name. But since I'm constantly doing music, it's difficult to have that quality time to listen to music and do classical stuff.
I grew up on Bach and Beethoven and now I'm listening to more modern composers who I can't even name. But since I'm constantly doing music, it's difficult to have that quality time to listen to music and do classical stuff. That's the only reason I'm thinking of going on.
See, we started out with a foundation of blues. But then we added people like Miles Davis and John Coltrane to the mix and gave rock n' roll a much more complex structure. It made it possible to play more than three chords.
You know, John Coltrane has been sort of a god to me. Seems like, in a way, he didn't get the inspiration out of other musicians. He had it. When you hear a cat do a thing like that, you got to go along with him. I think I heard Coltrane before I really got close to Miles [Davis]. Miles had a tricky way of playing his horn that I didn't understand as much as I did Coltrane. I really didn't understand what Coltrane was doing, but it was so exciting the thing that he was doing.
I was essentially raised on blues music. My dad was a blues musician around Dublin when I was a baby, so the only music I would listen to growing up was John Lee Hooker and Muddy Waters. It's music that feels like home to me.
I have tons of jazz records: John Coltrane, Thelonious Monk, Miles Davis. I could go on and on.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
I don't think we listened to any rock n' roll at all in the early days. It was Miles Davis and John Coltrane 95% of the time.
I love Bach cello suites, I love punk music, I love old blues, negro spiritual quartets, Muddy Waters' 'You Need Love.' There is a simplicity but also a bite that connects all that music, from the growl in the cello to the timbre in Muddy's voice.
When I have to compete with John Coltrane and Miles Davis and Louie Armstrong on iTunes, which I'm doing now, that's a problem. That means that jazz is not being heard by younger audiences.
My dad was a blues musician around Dublin when I was a baby, so the only music I would listen to growing up was John Lee Hooker and Muddy Waters. It's music that feels like home to me.
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