A Quote by Lee Konitz

Most jazz players work out their solos, at least to the extent that they have a very specific vocabulary. — © Lee Konitz
Most jazz players work out their solos, at least to the extent that they have a very specific vocabulary.
To most people, jazz-fusion means this dreadful synthetic jazz-rock thing, this jazz-Muzak, which I detest. They also think of jazz as a specific form of music, while to me it's just the opposite.
I used my Schecter for all my rhythms and most of my solos, certainly the fast solos.
Once you have a plan, you must sell it to the players. It is not enough to put it on the blackboard and say, 'Okay, here it is.' You have to convince the players that the plan is a good one and show them, in specific ways, why it will work. If you do, you send them out to the practice field with more confidence.
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 always had a great appreciation for jazz, but I'm a very pedestrian musician. I get by. I like to think that my main instrument is vocabulary.
The language of the culture also reflects the stories of the culture. One word or simple phrasal labels often describe the story adequately enough in what we have termed culturally common stories. To some extent, the stories of a culture are observable by inspecting the vocabulary of that culture. Often entire stories are embodied in one very culture-specific word. The story words unique to a culture reveal cultural differences.
'The Lobster' is very particular, and we did need to create a very specific world with specific rules so the whole premise would work.
Discipline is ... life-inhibiting, is at the very least curtailment of vital activity insofar as the latter cannot develop as it wishes but is confined within specific limits and subjected to specific rules.
It's really not a stretch. The checks and balances are the same. The drums are the executive branch. The jazz orchestra is the legislative branch. Logic and reason are like jazz solos. The bass player is the judicial branch. One our greatest ever is Milt Hinton, and his nickname is "The Judge."
When I started music, I started out in Puerto Rico with classical music. But what really made me want to be a musician was jazz, and because I didn't grow up with jazz, I had to learn it from a very basic level. I had to go into the history and learn everything about the development of the music, all the players and all that stuff.
My opinion was that if hogs are biting you so often that you have to stop and make up a specific word for it, maybe lack of vocabulary is not your most pressing problem.
Artie Shaw was way ahead of most clarinetists and most jazz players.
I've always felt that most jazz artists don't need producers .. most jazz artists know what kind of sound they want. They don't need a producer to come in there and tell them, "Oh, I think you should do this." I've always found it very strange that there's been such a thing as producers in jazz.
?ertainly to the extent that we talk about not just procurement in the sense of acquiring goods from the rest of the economy, even to the extent that it is possible to bring Black players in areas where we say we need to raise the capacity of these organisations to deliver services, it is a very important part.
I am not comparing myself to great artists, but when you see conceptual artists at work, on some level it's reassuring to know they can paint figuratively. Likewise, when you listen to the '50s jazz people who do these vast solos, you buy into it more if they open by playing a tune.
I only ever call up the best players, or at least the players who are the most suited to the way I wish to play.
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