A Quote by John Kao

Jazz is not about getting and playing whatever notes you want. It is about reworking themes in a manner that sounds good, that can be followed by the other musicians and that the audience enjoys. You cannot do that without first acquiring skills.
I have a theory that musicians recognize each other and if they are destined to collaborate together they will. Mainly, they recognize each other according to the class they belong to. If they are punk-rocker kids from the neighborhood, they are going form a band. If they happen to be musicians that are going to play in pubs and restaurants, they are going to recognize each other, form a band and play together. If it's about musicians that are playing jazz and are going to jazz festivals, for e.g., then they are going to meet and work together.
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.
Marijuana is taken by musicians. And I'm not speaking about good musicians, but the jazz type.
I got into playing the jazz. I played jazz for a good while. I did the popular stuff first. You got the "Twelfth Street Rag" and those kinds of things. Then I got to hanging around with a bunch of guys starting to playing jazz. We'd go from one place to the other and take our instruments, just perform for free.
The average age of the Jazz audience is increasing rapidly. Rapidly enough to suggest that there is no replacement among young people. Young people aren't starting to listen to Jazz and carrying it along in their lives with them. Jazz is becoming more like Classical music in terms of its relationship to the audience. And just a Classical music is grappling with the problem of audience development, so is Jazz grappling with this problem. I believe, deeply that Jazz is still a very vital music that has much to say to ordinary people. But it has to be systematic about getting out the message.
Any underrepresented audience loves to see themselves on TV, but what's more important is that we're writing about universal themes - good versus evil, can you change yourself? These themes resonate for everyone.
I took some lessons as a kid but trained myself by ear. I did it the way jazz musicians used to learn years ago, which is to play records and slow them down to figure out the notes. At first I tried to imitate Red Garland, who was my favorite jazz pianist.
I want to be happy. I realized that being happy isn't necessarily about getting there, it's how you get there. It almost sounds like a cliche, but every entrepreneur I've talked to - every good entrepreneur - really enjoys the 'how you get here.'
Of course we've lost so many superstars who've made jazz what it is. We've lost so many musicians who created new things and changed the way we think about music and who took jazz to a new level. So jazz is suffering from that. But we still have a lot of incredible people playing jazz in the world. We have a lot of people leading the way.
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.
I'm not sure if a writer should talk about themes. Themes arrive out of the deeper structure and concerns, but to me, the main thing is getting it down right, writing about specific characters in specific predicaments, and finding a way to be true to the story itself, not only in the first burst of draft but in the revision, too.
We're not like a nostalgia act, or the normal classic rock act - we're a really good musical organization, ... You're going to hear some blues, some jazz, a little of everything. The guys in the band are great musicians. When we play, we're there for real. It's not about posing, strutting in tights, that kind of stuff. It's all about music, and I've always respected my audience that way.
So much of Jazz doesn't have an audience other than music students or musicians.
School of Rock. The best music school anywhere. This whole idea of getting kids not just taking lessons and learning notes and chords, but learning songs and playing with other young musicians, and getting out on stage... I was so impressed that my daughter Cheyenne goes to School of Rock on Long Island.
Just because I'm playing jazz I don't forget about me. I play or write me, the way I feel, through jazz, or whatever.
Maybe a part of me recognized how right the improvising spirit of jazz is. Not the sounds, but the freedom to work with musicians who work that way. It felt very natural to me, but I think there's a way to do it without it being a jazz record.
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