A Quote by Harry J. Anslinger

Marijuana is taken by musicians. And I'm not speaking about good musicians, but the jazz type. — © Harry J. Anslinger
Marijuana is taken by musicians. And I'm not speaking about good musicians, but the jazz type.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
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 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.
After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.
I don't get so much inspiration from other musicians. Especially alive musicians. Late musicians are good - Bach, Beethoven - yes, good.
Jazz musicians have always taken the standards of their time and performed them with a jazz sensibility.
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.
For me, let's keep jazz as folk music. Let's not make jazz classical music. Let's keep it as street music, as people's everyday-life music. Let's see jazz musicians continue to use the materials, the tools, the spirit of the actual time that they're living in, as what they build their lives as musicians around.
I'm thrilled when I hear the greatest jazz musicians. They continue to search in ways other musicians do not.
There is an apprenticeship system in jazz. You teach the young ones. So even if the musicians weren't personally that likable, they felt an obligation to help the younger musicians.
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.
Musicians don't respect a lot of the stuff that is on TRL and a lot of musicians think that stuff on the radio is not good musically so when musicians say that they like us it obviously feels good.
Hamp would ask me about tempos in the band: 'Jacquet,' he'd say, 'knock off that tempo.' A lot of jazz musicians didn't prefer to play for dancers, which was their loss, really. But good jazz has always had that dance feel.
That's for non-musicians to say: "I only listen to this or that type of music." I think musicians love all music, or at least that's my case.
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.
It was about finding creative, original musicians. Musicians who are strong composers. Flexible, empathetic musicians, who are great individually but who also have a great sense for cooperation and collaboration, great listeners as well as great players.
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