A Quote by Joy Harjo

The radio is playing jazz, and I listen to the sound of the trumpet playing a solo until I become that sound. — © Joy Harjo
The radio is playing jazz, and I listen to the sound of the trumpet playing a solo until I become that sound.
There's nothing worse than bad scatting, except maybe bad mouth trumpet. Mouth trumpet may sound like a trumpet, but it's really more like playing a kazoo. The instant you do your solo, the audience has a bit of a chuckle.
It's the group sound that's important, even when you're playing a solo. You not only have to know your own instrument, you must know the others and how to back them up at all times. That's jazz.
The hardest part of playing the trumpet is the physical act of making the sound.
It's the group sound that's important, even when you're playing a solo.
I started playing trumpet when I was 11 years old. All I wanted to be was a jazz trumpet player when I grew up.
My strongest hope is for a cameo as a band playing in a club visited by the detectives on 'Law & Order: SVU' during the course of an investigation, maybe during sound check, or something, so they can force us to stop playing while they question the sound guy.
It wasn't very satisfying playing the big arenas, but it was good as far as a paycheck. But the sound was terrible, especially in hockey arenas - the sound would go on for 30 seconds after we quit playing.
I tend to prefer the band thing. I think playing solo is good for about 45 minutes. I remember when I was on my solo tour that I got a chance to play with Martin Stephenson of the Daintees. He's now refashioned himself as almost a delta blues guitar player and he's got all the technique, all the persona and the charisma on stage. I think I do too, but I'm more of a first position strummer guy with a little bit of filigree work. I could listen to him for hours; I could listen to myself playing solo for about half an hour!
I believe in legacy. And I believe in making the radio sound better. If I gotta listen to it, I want it to sound good.
I remember I did quite a lot of interviews when the book and the CD came out, and I did a drivetime interview for Radio London or something. You wouldn't immediately associate the music on Ocean Of Sound with drivetime radio, but people found things that they liked, and the DJ was playing some records at 5 o'clock in the afternoon on a weekday.The man who was playing them said to me, "That Peter Brotzmann track, it's like having your head boiled in acid."
I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
One of the main things I look for in a guitarist is in the sound itself. I go for a certain sound, and I think it's an important thing for making a player more identifiable in the big giant pool of musicians out there. You want a sound that people will recognise just as much as your playing.
I would urge a young player to listen to Charlie Christians' sense of time ... I'll never forget listening to my father (Bucky Pizzarelli) and Tal Farlow playing Christians' 'Solo Flight' backstage at a gig... that's when it hit me how big of an effect Christian had on jazz guitar. 'Solo Flight' was like the gospel.
I think my favorite sound is the sound of someone not playing the bongos.
Whatever it is, music should sound spontaneous, I've derived a great deal of pleasure from playing jazz and having the knowledge of that spontaneity.
I've always taken it upon myself to be a pioneer or a leader, and create a different sound, not just go by what the radio is playing at the time.
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