A Quote by Jan Garbarek

There's a certain phraseology involved in jazz, and I've moved away from that. — © Jan Garbarek
There's a certain phraseology involved in jazz, and I've moved away from that.
I have a habit of comparing the phraseology of communiques . . . noting a certain similarity of words, a certain similarity of optimism . . . and a certain similarity in the lack of practical results during the ensuring years.
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.
The great jazz and jazz-influenced singers carry themselves with a certain panache and a certain elegance and, for lack of a better word, self-confidence.
Jazz music should be inclusive. Smooth jazz to me rules out a certain kind of drama and a certain tension that I think all music needs. Especially jazz music, since improvising is one of the cornerstones of what jazz is. And when you smooth it out, you take all the drama out of it.
I joined Norwich when I was 15 and moved away from a life living on an estate in Cardiff and everything I knew. I moved away from my girlfriend, who is my wife now, and my nan, who has now passed away. I missed a lot.
I'm not a jazz musician, because, I mean, firstly, I can't play anything. I'm not bad on the tamborine. I have a certain way with the triangle. But I'm not a jazz musician ... my band, they always joke, they always say that I'm a disposable, pop, jazz superstar.
I think one of the things that language poets are very involved with is getting away from conventional ideas of beauty, because those ideas contain a certain attitude toward women, certain attitudes toward sex, certain attitudes toward race, etc.
I used to watch the world as if it was a performance and I would realize that certain things that people did moved me, and certain things didn't move me, and I tried to analyze, even at that age, six and seven and eight, why I was moved by certain things they did.
I used to watch the world as if it was a performance and I would realize that certain things that people did moved me, and certain things didn't move me, and I tried to analyze, even at that age, six and seven and eight, why I was moved by certain things they did
For 13 to be unlucky would require there to be some kind of cosmic intelligence that counts things that humans count and that also makes certain things happen on certain dates or in certain places according to whether the number 13 'is involved' or not (whatever 'is involved' might mean).
[Manhattan School Of Music] didn't' have a jazz undergraduate program at the time so I played a semester in the big band. There was a graduate program. But I wasn't really that involved in jazz yet.
I don't think I've ever been true to jazz. There's always a kind of jazz element to what I do. There are a very few genres that I haven't tried out, really, in what I've been doing. As a jazz musician, you can kind of mess about with things with a certain level of musicianship, which helps.
Flow is being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one, like playing jazz.
At a certain point, I became a kind of musician that has tunnel vision about jazz. I only listened to jazz and classical music.
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.
That's what it is-it's jazz. It's just jazz. That's what the whole thing is about to me. It's about what's happening right now in this context. This conversation is jazz to a certain extent. It's improvisation. What appeals to me about music is the improvization. That's what I don't like about the media-they're not living it.
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