A Quote by Jack Kerouac

Once there was Louis Armstrong blowing his beautiful top in the muds of New Orleans; before him the mad musicians who had paraded on official days and broke up their Sousa marches into ragtime. Then there was swing, and Roy Eldridge, vigorous and virile, blasting the horn for everything it had in waves of power and logic and subtlety - leaning into it with glittering eyes and a lovely smile and sending it out broadcast to rock the jazz world.
[Eddie Locke] had a huge impact in my life. He was a great jazz drummer. He was mentored by Papa Joe Jones and he played for many years with Coleman Hawkins and Roy Eldridge and actually got me on a gig with Roy Eldridge when I was 20 that I'll never forget.
Jazz came out of New Orleans, and that was the forerunner of everything. You mix jazz with European rhythms, and that's rock n' roll, really. You can make the argument that it all started on the streets of New Orleans with the jazz funerals.
My dad always pointed out Louis Armstrong's pad when we passed by there. And me and my dad were both proud Louis Armstrong was from New Orleans.
I think that anybody from the 20th century, up to now, has to be aware that if it wasn't for Louis Armstrong, we'd all be wearing powdered wigs. I think that Louis Armstrong loosened the world, helped people to be able to say "Yeah," and to walk with a little dip in their hip. Before Louis Armstrong, the world was definitely square, just like Christopher Columbus thought.
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 actually wanted to be a jazz musician first. My grandparents introduced me to Louis Armstrong. I loved Louis Armstrong so I took up the trumpet and just did that every day and practiced that.
Intimate singing had a wonderful style in the '30s and '40s. It came out of Broadway and the jazz of Louis Armstrong and Billie Holliday. But Sinatra created the best romantic era that we've ever had.
When my sister and I were kids, swimming down in Charleston, there was this pizza parlor that had this old Dixieland band play, and I just loved Louis Armstrong and the sound of his voice, and I got up there with the band and started singing Louis Armstrong songs when I was a kid. I have no idea why, but I did it and I loved it.
She looked up at him with a smile. The smile broke what was left of his resistance - shattered it. He had let the walls down when he'd thought she was gone, and there was no time to build them back up. Helplessly he pulled her against him. For a moment she clung to him tightly, warm and alive in his arms. Her hair brushed his cheek. The color had come back into the world; he could breathe again, and for that moment he breathed her in - she smelled of salt, blood, tears, and Tessa.
I had a really good time in New Orleans, although I had some very tragic times in Baton Rouge. Some guys beat me up and threw my horn away. 'Cause I had a beard, then, and long hair like the Beatles.
If I have to be considered any type of jazz artist, it would be New Orleans jazz because New Orleans jazz never forgot that jazz is dance music and jazz is fun. I'm more influenced by that style of jazz than anything else.
The New York that Frank Sinatra sang about, people will never know that place. The New Orleans that Louis Armstrong sang about is the New Orleans that's still there - it's preserved.
I was co-editor of the magazine called The Jazz Review, which was a pioneering magazine because it was the only magazine, then or now, in which all the articles were written by musicians, by jazz men. They had been laboring for years under the stereotype that they weren't very articulate except when they picked up their horn.
I have a love-hate relationship with New Orleans, which is the strongest sort of relationship. I've had some extraordinary, beautiful, poetic experiences in this city and I've had some terrible experiences in this city. I'm drawn to New Orleans, in many ways feel I grew up in New Orleans, even though I'm from the West.
He lifted his gaze to the framed photograph of Tanya and him taken on their wedding day. God, she had been lovely. Her smile had come through her eyes straight from her heart. He had known unequivocally that she loved him. He believed to this day that she had died knowing that he loved her. How could she not know? He had dedicated his life to never letting her doubt it.
I grew up in the Great Depression, and the jazz artists and Dixieland musicians were at the core of our communications and enjoyment. They were not passing fancies. They are something that is, and will be, listened to again and again. I have a space of reverence for some of those old jazz stars such as Sydney Bechet and Louis Armstrong.
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