A Quote by George Benson
I never gave up on that idea, you know, that jazz musicians have the same opportunity as everybody else and that it's what you put on that record that makes the difference whether you sell it or not or are able to get it into people's households.
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A respectable-sized audience hasn't really been able to follow developments in jazz since the free jazz movement in the '60s. Some of them can't even get with John Coltrane. Audiences are diminishing more and more rapidly. Some of the top young musicians with something new to say can't get record companies to put out their stuff.
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.
As a model, I am at the mercy of everybody else. It's much more of a situation where I go to work, put the clothes on, get in front of the camera, and then go home. But in that process, I never really have control over any of it. So, putting out a record, it's such a brilliant opportunity to be in control of things. It's my world, my music, and I can put it out there in a way that is meaningful to me.
We're [with Robbie Robertson ] jazz musicians. The context may be rock 'n' roll but it's still jazz. It's jazz and that means improvization...you play a tune the way it feels and you play it differently every time. It can never be the same.
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 do not rush into constructive work. When I get an idea, I start right away to build it up in my mind. I change the structure, I make improvements, I experiment, I run the device in my mind. It is absolutely the same to me whether I operate my turbine in thought or test it actually in my shop. It makes no difference, the results are the same. In this way, you see, I can rapidly develop and perfect an invention, without touching anything.
The biggest difference between me and other artists out there is that they'll put anything out to sell a record or sell a ticket.
Every day, I get up, and I fill the bird feeders and put out fruit and other food for both the birds and any passing mammals. Is that pointless long-term? I have no idea. All I know is that on this day, in this moment, it makes a difference.
I have seen great jazz musicians die obscure and drinking themselves to death and not really being able to get any work and working in small, funky jazz clubs.
I gave someone a perverse argument not so long ago about why advertising is better than movies. You want to hear it? Movies operate from a really disingenuous premise, that people are heroes. I know a lot of people and have had an opportunity over the years to observe them. Are they heroes...? Let's put it this way. Advertising tries something simpler and more believable: Products as heroes. I guess the idea is: When all else fails, put your faith in conditioner.
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.
I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.
That was an idea of the record company, and also that was my first album after MCA and we wanted to come back with a strong album that would be noticed. If we put the vocals by very talented people and very meaningful songs, then the vocals would be a platform so that I could be noticed again. All of the MCA albums were just loaded with problems -- you know, the right musicians, the engineers. The record company would say 'You have to make music for black radio, you can't do what you have been doing with The Crusaders.' Everybody was telling me that was over, finished, done.
As to whether the people who were supposedly to put up the money and did put it up or whether it was Arthur's own money is something which I shall never know.
My whole life I saw everybody else get shine, I saw everybody else get money, everybody else wanted to rap. I saw them getting record deals and stuff like that. And everytime I saw that it was damn, I can't wait until my time.
Lars Ulrich is not a jazz drummer, but he grew up listening to jazz. Why? Because his father, Torben - an incredible tennis player - loved jazz. Jazz musicians used to stay at their house.
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