A Quote by Julian Bream
When my father saw that I was interested in following such a career he had many reservations. His feeling was that there was no chance to earn a livelihood unless I played jazz or something similar.
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My father had played cornet, although I never saw him play it. I found his mouthpiece when I was a kid. I used to buzz it. And my mother played piano and sang in the church choir for different functions. So there was always music in the house, jazz, gospel, or whatever. Especially jazz records.
I could feel myself changing physically. It was like something dropped out of the sky. Seeing her on the fire escape had given me a certain feeling, and then when I saw the photograph of her, it gave me a similar feeling. And I thought that was an incredibly powerful thing - that a photograph could give you a feeling that was similar to a feeling you had in the physical world. Nobody could've told me that. I knew what I was going to do for the rest of my life.
Even if I could not earn a penny from my writing, I would earn my livelihood at something else and continue to write at night.
I worked with my son when he was much younger; we did L.A. Law together, where I played his father and he played a kid who was suing his father for alienation of affection or something. It was great.
My father had always dreamed of getting a Ph.D., but certain life circumstances prevented him from following through. It was a tremendous, deep regret. The day I got my Ph.D., I saw in my father's face what it meant that I had done this.
Lars Ulrich is not a jazz drummer, but he grew up listening to jazz. Why? Because his father, Torben - an incredible tennis player - loved jazz. Jazz musicians used to stay at their house.
Even before his detention, my father was fighting many cases. He remained in jail in Multan. He remained in jail in Bannu. But we were not allowed to go see him there. We always saw him in courts. So for me, the courts were a place where you dressed up to see your father. It had a very nice feeling to it.
I've played drums since I was 15. My sisters and I all played instruments. I kind of started with piano and then I actually played saxophone with a jazz band in middle school. So, any knowledge I had of jazz music was from playing alto-sax back then.
Originally, I was in high school, and I was studying biology, and I got really interested in the field of medicine. And then, I got a lot of early exposure to it because my father's a physician, and I saw the relationship that he had with his patients, and it was something that drew my attention to how wonderful the field was.
M. J. was M. J. His body of work speaks for itself. We've seen his career, we've dissected his career and had the chance to watch it. That's done.
I told my father I wanted to go to the stock market. My father reacted by telling me not to ask him or any of his friends for money. He, however, told me that I could live in the house in Mumbai and that if I did not do well in the market I could always earn my livelihood as chartered accountant. This sense of security really drove me in life.
I was really a nerd, and I was really more of a jazz nerd. So when I had my chance to put on something, most of the time it was going to be jazz, or gospel, or something like that.
Since the beginning of my recording career in 1975, I have had a little difficulty because the pop stations think I'm a jazzer who doesn't have a feeling for pop, so it's hard to get my records played. Similarly, black urban radio doesn't understand that with my R&B roots, I am more than a jazz singer. So I get pigeonholed.
As a disciple of my father's, I was certain I wanted to include one of his own raga creations on 'Home', as they are so beautiful; whilst many of his creations are part of the general classical repertoire for all musicians, many more are only played by those of us who learned from him, and therefore need to be played.
I was brought up in a house with a lot of appreciation for music, all kinds of music, including jazz. But I never knew that it could really be a career. I didn't know any jazz singers. I never saw live jazz. I only heard these records.
Improvisation was the blood and bone of jazz, and in the classic, New Orleans jazz it was collective improvisation in which each performer, seemingly going his own melodic way, played in harmony, dissonance, or counterpoint with the improvisations of his colleagues. Quite unlike ragtime, which was written down in many cases by its composers and could be repeated note for note (if not expression for expression) by others, jazz was a performer's not a composer's art.
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