A Quote by Jay McShann

They said Bird played bebop, but Bird could still swing. I've heard a lot of guys play bebop, but they wasn't swinging. — © Jay McShann
They said Bird played bebop, but Bird could still swing. I've heard a lot of guys play bebop, but they wasn't swinging.
Nobody knows where jazz is going, because nobody has ever known where jazz was going. I mean, you couldn't possibly predict the Swing Era from the '20's or bebop from the Swing Era or Avant-garde from Bebop, or Effusion, or on and on and on. So, we don't really know where it's going.
Bebop and hip-hop, in so many ways, they're connected. A lot of rappers remind me so much of bebop guys in terms of improvisation, beats and rhymes. My dream is to see hip-hop incorporated in education. You've got the youth of the world in the palm of your hand.
Bebop didn't have the humanity of Duke Ellington. It didn't even have that recognizable thing. Bird and Diz were great, fantastic, challenging — but they weren't sweet.
The 1988 biopic of bebop immortal Charlie Parker, 'Bird,' was the film that opened my eyes to Clint Eastwood's potential as a filmmaker.
A lot of black guys always ask me, 'Did Larry Bird really play that good?' I said, 'Larry Bird is so good it's frightening.'
I went through the whole number, you know. The swing era, the boogie woogie era, the bebop era. Thelonious Monk is still one of my favorites. So a lot of these people had their effect on me.
There was a lot of freedom, so bands in those days did not have to play for the public. They played for club owners that enjoyed music. You know, what happened - there was a lot of clubs that had bebop music or different forms of music. It was great for musicians.
Magic Johnson didn't play the style that Larry Bird did, and Michael Jordan sure didn't play the style that Magic or Bird played.
When I heard Charlie Parker, I knew that that was going to be the new wave, the new way to play jazz. From that point on, I was sold with... the idea of bebop.
[Charlie Parker] was kind of a sponge and intrigued by it all.That's similar to what Phil [Woods] told me about Bird, too. Like he was into cooking. He was just into a lot of things. Yeah, it's about dealing with bebop and jazz and Trane [John Coltrain] and post-Trane and knowing the history. But you've got to live. You have to experience things. Know something in this world. So it was a very deep education about what it means to try and be an artist.
The caged bird sings with a fearful trill, of things unknown, but longed for still, and his tune is heard on the distant hill, for the caged bird sings of freedom.
Early bird Oh, if you’re a bird, be an early bird And catch the worm for your breakfast plate. If you’re a bird, be an early bird— But if you’re a worm, sleep late.
Musically, swing pretty much dominated in the '30s. And into the late '30s, swing is beginning to change over to bebop in the early '40s, which is exactly when this new science of theoretical physics, particularly theoretical atomic physics, was really coming to the fore.
Sometimes you think "Okay, well I'm going to play my horn, and I'm going to study Charlie "Bird" Parker solos or [John Coltrain] or whatever." But as [Phil Wood] said to me, "Man, Bird listened to everything."
Bird by bird, buddy. Just take it bird by bird.
When he first started - Jim Henson, who created Bid Bird and Oscar - he said Big Bird was just a big, goofy guy. And it was - a script came along and I said, 'I think Big Bird would be much more useful to the show if he were a child learning all the things we were teaching in the show.' And so he didn't know the alphabet, even, for instance.
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