A Quote by Hozier

By the time I was in my teens, I was listening to Delta blues and jazz. — © Hozier
By the time I was in my teens, I was listening to Delta blues and jazz.
I don't remember any impression [from blues].The blues was just everywhere in the Mississippi Delta. It was mostly black sharecroppers living there, and there was a lot of blues around. Sometimes the guys would sing the blues in the fields, working.
The blues and jazz will live forever... So will the Delta and the Big Easy.
I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
Back in the day in my teens I was listening to Joe Pass and Wes Montgomery a lot; before that I was listening to what I would call now the more 'simple' jazz players (but still very valid), like Barney Kessell or Johnny Smith; I learnt a lot of voicings from Johnny Smith records. Now, I listen to the old blues players; that's what you'd hear in my house if there was music on. It would be Albert Collins or Albert King.
I was considered as a jazz man rather than as a blues player. There were no blues players-you played one sort of jazz of another sort of jazz.
After my early days of being a passionate young Elvis fan, Chuck Berry, Little Richard, etc. I got interested in Ray Charles and Ella Fitzgerald. Then I got turned on to the blues. I realized how important it was to our music in England at the time. Everyone was into the blues. Then you start looking at the different kinds of blues, and you follow the journey backwards from Chicago to earlier times back down to the Delta to the Memphis Blues.
I don't know why people call me a jazz singer, though I guess people associate me with jazz because I was raised in it, from way back. I'm not putting jazz down, but I'm not a jazz singer...I've recorded all kinds of music, but (to them) I'm either a jazz singer or a blues singer. I can't sing a blues – just a right-out blues – but I can put the blues in whatever I sing. I might sing 'Send In the Clowns' and I might stick a little bluesy part in it, or any song. What I want to do, music-wise, is all kinds of music that I like, and I like all kinds of music.
I'm also a blues musician, and all blues artists can trace their pain to the slavery fields of the Mississippi Delta.
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.'
I'm in Delta Delta Delta, otherwise known as Tri-Delta. I've developed some great friendships, and it's enabled me to have a little bit more of a normal college experience.
I have been influenced by music. I grew up listening to blues, jazz and all.
The jazz and blues clubs are like the jazz and blues musicians - they're disappearing.
The delta blues is a low-down, dirty shame blues. It's a sad, big wide sound, something to make you think about people who are dead or the women who left you.
We were either listening to jazz or Robert Johnson, the old blues man, but not to our peers.
I learned jazz; that comes from blues. I learned rock; that comes from blues. I learned pop; that comes from blues. Even dance, that comes from blues, with the answer-and-response.
The blues style - moody or rollicking or boastful or bashful - developed in the Delta around 1900 and was, for a time, exclusively African-American. That isn't the case anymore.
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