A Quote by Jaco Pastorius
Joseph Zawinul and Toots Thielmans, in my opinion, are the only Europeans who can play rhythm-and-blues.
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When I came to The Moody Blues, we were a rhythm and blues band. I was lousy at rhythm and blues - I think the rest of us were.
Our repertoire consisted of rhythm and blues, sort of country rhythm and blues, Sonny Terry things.
I want to go back to the format that radio started with rock n' roll, with country artists and rhythm and blues with that oldies type feeling. I want to put it all together and create a Top 40 of rhythm and blues and country and straight blues with Wolfman at the reins.
When I started off in Wales, I sang and accompanied myself with guitar in the '50s. And then I got a band together, which is a rhythm section, really. I used to do a lot of blues, and rhythm and blues, and '50s rock 'n' roll and country, and all kinds of stuff.
Joseph Zawinul does overkill, and his technological overkill sucks, but there's no friction between us; I just say, 'Look,' and that's it. Do you have any idea how much music I learned from him?
Obviously you have to have rhythm. If you have rhythm, then you can play anything you need. If you have rhythm and you love music, then play and play and play until you get to where you want to get. If you can pay the rent, great. If you can't, then you'd better be having fun.
There are happy blues, sad blues, lonesome blues, red-hot blues, mad blues, and loving blues. Blues is a testimony to the fullness of life.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
For a while I had a blues band in L.A., but I realized I was too optimistic to play the blues. I did not have the misery in my heart that the blues required.
See, I have a different type of music from other peoples. They playing the other kind of blues, and I'm playing cotton-patch blues.... Ain't nobody now can play the blues that I play.
There's no way in the world I can feel the same blues the way I used to. When I play in Chicago, I'm playing up-to-date, not the blues I was born with. People should hear the pure blues - the blues we used to have when we had no money.
Theres no way in the world I can feel the same blues the way I used to. When I play in Chicago, Im playing up-to-date, not the blues I was born with. People should hear the pure blues - the blues we used to have when we had no money.
You can't seperate modern jazz from rock or from rhythm and blues - you can't seperate it. Because that's where it all started, and that's where it all come from - that's where I learned to keep rhythm - in church.
You can't seperate modern jazz from rock or from rhythm and blues - you can't seperate it. Because that's where it all started, and that's where it all come from - that's where I learned to keep rhythm - in church
From the spiritual came the blues, gospel, and rhythm-and-blues. I heard all of that music growing up, and that has influenced how I approached classical music. I'm sure of it.
I wasn't popular in school, I was Mexican, I was all these inappropriate things. I started playing the ukulele and taking it to school, and I realized people liked listening to it. I would play it to comfort myself at home, and I'd play rhythm and blues songs that had four chords. That's how it started.
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