A Quote by Haruki Murakami

I had my jazz club and I had enough money. So I didn't have to write for my living. — © Haruki Murakami
I had my jazz club and I had enough money. So I didn't have to write for my living.
When I was 13, I used to go to a jazz club. The owner of the club became my first business manager. She was very gutsy and had a lot of friends, one of whom happened to be the head of jazz at Columbia at the time. That's how it all began.
I'm a product of state schools. I had a working-class family. We had no books. I was the first to go to college. But I didn't really think about it, or about making money. I was just going to be an artist, and I've been fortunate. I've never had to work for anybody nor have I had to write for money. Maybe that's another reason that I've been able to be productive. I haven't had to use my writing to make a living.
We don't live in a jazz world, unfortunately. I think if I had lived in a jazz world, I would have done OK. I'm not sure I would have done great. I'm a lover of jazz music, so I would have been happy, don't get me wrong. I go to jazz concerts like the biggest jazz fan in world. The drag is that I don't play jazz for a living.
I've had days here and there where I would get discouraged because I wasn't a big star, but I've made a living ever since I was 27. Not a great living, but enough for me. I think actually being able to pay my rent and eat and perform is enough, and I did that for many years. Then I had some good years in there, too, where I made pretty good money.
All of us '60s pop stars came from old cities which had a jazz club, a folk club, a coffee house, and an art school.
I made a good living for a teenager. And I had to learn all different kinds of music - jazz, swing, Motown, pop - and that inspired what kind of music I started to write.
I remember the first time I was booked into a jazz club. I was scared to death. I'm not a jazz artist. So I got to the club and spotted this big poster saying, 'Richie Havens, folk jazz artist.' Then I'd go to a rock club and I'm billed as a 'folk rock performer' and in the blues clubs I'd be a 'folk blues entertainer.'
My father is a jazz musician, so I grew up hearing jazz. My parents loved it, but I didn't like it. It went on for too long. Yes, I had certain teachers that really inspired me, like Danny Barker, and John Longo. And I had no idea that I would have any impact on jazz.
My dad, was, by trade, he had a Ph.D. in mechanical engineering. He's a huge, huge jazz fan. He used to travel all the time for projects, and he used to collect jazz records. He used to collect hundreds and hundreds of jazz records because he had this passion for it. That's kind of how they had certain hobbies together with my mom.
We had common interests in the beauty of the French language. We both had a tremendous love of jazz. We shared dreams of getting married and having a family, living in the country, leading an idyllic life.
I called all of the producers and although we didn't have enough money to do that, I had to actually know which shots I wanted to get because we only had at most, one or two takes and then we had to move on.
The first club that reopened in New Orleans was Caesar's, and they called me immediately and said let's do a regular night with you here. So we started FEMA Fridays. It was the only club open in the city, and a lot of people had a lot of money from Katrina, the checks and stuff, so the joy inside that club - I don't think that'll ever come back.
When I was in high school I made the discovery that if I was playing in a jazz club, and there were black people in the club, if I could get the black people to like what I was doing, I was on the right track. So I began to play to those people because they knew what the authentic music was. I've always had that in the back of my head.
I gladly, I voluntarily gave up the kind of commercial film career I had going as soon as I had enough money to finance my own films. I didn't make that money necessarily from the film business, but I eventually made a lot of money and that's what I do. Of course, I consider myself unbelievably fortunate, and I'm pretty content with my life.
I had not been in the jazz environment, having been brought up in the church. But once I got to New York, and I was signed to perform at The Village Gate and the Vanguard and clubs like that, and these - the Vanguard was one of the most elite, if not the most elite, jazz club out there.
Yeah, we shot ourselves in the foot right out of the gate. The guy who ran it at first misled pretty much everybody about how much capital we had. He said we had enough to go three years without making money, and we had enough to go three weeks.
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