A Quote by Julian Bream

I love playing jazz because I love the freedom you have to improvise. It has given me a feeling in my classical repertoire of creating the atmosphere of the here and now. — © Julian Bream
I love playing jazz because I love the freedom you have to improvise. It has given me a feeling in my classical repertoire of creating the atmosphere of the here and now.
My roots are in classical music and jazz, and I want the freedom of being able to improvise. This freedom is possible only in a live concert.
Jazz stands for freedom. It's supposed to be the voice of freedom: Get out there and improvise, and take chances, and don't be a perfectionist - leave that to the classical musicians.
Personally, I think young musicians need to learn to play more than one style. Jazz can only enhance the classical side, and classical can only enhance the jazz. I started out playing classical, because you have to have that as a foundation.
When you're playing jazz, you have to somehow overcome that feeling of being intimidated because your aim is to portray that freedom in what you're playing.
Freedom and love go together. Love is not a reaction. If I love you because you love me, that is mere trade, a thing to be bought in the market; it is not love. To love is not to ask anything in return, not even to feel that you are giving something- and it is only such love that can know freedom.
I'm not a classical player. I don't want to be a classical player. I love to improvise, because things happen that never happen anywhere else.
As a rule, my focus is on classical music, but I love jazz. I love everything, actually.
When we improvise freely - that is, without a structure - it tends to sound more like 20th century classical music, more like a classical ensemble improvising, as opposed to a free-jazz group, where you're more used to hearing saxophones honking.
I love things that are very broad. I love alternative, rock, hip hop, rap, and I'll go to classical or jazz.
I never liked jazz music because jazz music doesn't resolve. But I was outside the Bagdad Theater in Portland one night when I saw a man playing the saxophone. I stood there for fifteen minutes, and he never opened his eyes. After that I liked jazz music. Sometimes you have to watch somebody love something before you can love it yourself. It is as if they are showing you the way. I used to not like God because God didn't resolve. But that was before any of this happened.
I'm a jazz performer - I have to improvise with what I'm given.
I think size is the most unused quotient in the sculptor's repertoire because it requires lots of commitment and time. To me it's the best tool. With size you get space and atmosphere: atmosphere becomes volume. You stand in the shape, in the zone.
I love classical music, but I hated classical guitar. But I like flamenco, because there was something else there going on. It wasn't just the notes being thrown at you. And there were certain kinds of jazz that I really liked and other kinds that just went right over my head.
If I were to run around the world playing just the cello concertos - and believe me, I love playing them - I would be counting my entire repertoire from year to year on my two hands.
I'm lucky because my repertoire is so specific, and theaters are interested in me singing my repertoire because it is not done so much. I'm pretty well settled in my repertoire. I like what I sing. My voice is high, and there is not much in baroque opera for higher tenor.
Jazz is not the popular culture. Jazz is in the same position in our culture as classical music. A very small minority of people really love it.
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