A Quote by Gary Burton
I know of musicians who have played together for decades who hate each other. The Modern Jazz Quartet for one.
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I have a theory that musicians recognize each other and if they are destined to collaborate together they will. Mainly, they recognize each other according to the class they belong to. If they are punk-rocker kids from the neighborhood, they are going form a band. If they happen to be musicians that are going to play in pubs and restaurants, they are going to recognize each other, form a band and play together. If it's about musicians that are playing jazz and are going to jazz festivals, for e.g., then they are going to meet and work together.
I have always loved jazz music and as a teen growing up in New York City and then later on as an adult have great memories of the jazz clubs that were all located on 52nd Street. I still catch as many jazz shows as I can when I am in New York. And when I perform, I have my jazz quartet by my side. Jazz musicians keep things spontaneous and very "live," which is the way I like to perform.
For me, great jazz records really feel like everyone in the room is playing together in a zone - and all the musicians are completely in sync with each other.
The only reason is that I hadn't seen The Modern Jazz Quartet perform live and a live performance is often where the real experience of jazz takes place. I'm not familiar with the Boswell Sisters.
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.
I have learned a lot from jazz. I compare good acting to jazz music. The more you study and prepare as an actor, the more equipped you are to live in the moment. Just like the gifted musicians in my dad's quartet, it takes a courageous actor to be free.
The coaches hate each other, the players hate each other... There's no calling each other after the game and inviting each other out to dinner. But the feeling's mutual: They don't like us, and we don't like them. There's no need to hide it, they know it, and we know it. It's going to be one of those black and blue games.
It is my belief that there is a tendency among the so-called 'modern' or 'hip' jazz musicians to consider styles other that their own, 'corny', and it is my contention that in actuality it is these musicians who are producing that which in future years perceptive critics will deem 'corny'.
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.
On screen, we have to pretend we hate each other, or dislike each other, or don't want to talk or listen to each other, but off camera, it's just one big happy family. We hang out off the show and we play cards together and go have dinner together.
I started playing music around 13 or 14, played jazz in high school, and played other stuff in college. After college, I tried to make it as a musician. I lived in a big squalid house full of dudes outside of Boston. We were all musicians. We built this studio in the basement and played there all hours of the day.
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.
Educate yourself, because this society is geared to have us hate each other. The longer we hate each other, the more we can't come together as humanity and look at the knuckleheads screwing it up for everybody.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
It's a weird thing where, especially in jazz, you have to totally mention cutting sessions and people one-upping each other and people being super, super tough on each other. And out of it emerge these genius musicians.
We were on As the World Turns together with Trevor Vaughn. We played brothers on the show. Our friendship started there. We would punch each other in the face, in the nuts, while we were acting. Our characters are supposed to hate each other, but we actually got along really, really well.
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