A Quote by Miles Davis
Jazz is like blues with a shot of heroin!
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I don't like heroin, unless you're a jazz musician and then you have to be on it because jazz is the sound of heroin.
I don't know why people call me a jazz singer, though I guess people associate me with jazz because I was raised in it, from way back. I'm not putting jazz down, but I'm not a jazz singer...I've recorded all kinds of music, but (to them) I'm either a jazz singer or a blues singer. I can't sing a blues – just a right-out blues – but I can put the blues in whatever I sing. I might sing 'Send In the Clowns' and I might stick a little bluesy part in it, or any song. What I want to do, music-wise, is all kinds of music that I like, and I like all kinds of music.
The jazz and blues clubs are like the jazz and blues musicians - they're disappearing.
I was considered as a jazz man rather than as a blues player. There were no blues players-you played one sort of jazz of another sort of jazz.
Jazz is the big brother of the blues. If a guy's playing blues like we play, he's in high school. When he starts playing jazz it's like going on to college, to a school of higher learning.
Blues is like the roux in a gumbo. People ask me if jazz always has the blues in it. I say, if it sounds good it does.
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 learned jazz; that comes from blues. I learned rock; that comes from blues. I learned pop; that comes from blues. Even dance, that comes from blues, with the answer-and-response.
The way we're currently educating people about heroin is to say that heroin is so awful. Heroin is not so much the problem. It's when you combine it. It's hard to die from heroin alone.
I remember the first time I was booked into a jazz club. I was scared to death. I'm not a jazz artist. So I got to the club and spotted this big poster saying, 'Richie Havens, folk jazz artist.' Then I'd go to a rock club and I'm billed as a 'folk rock performer' and in the blues clubs I'd be a 'folk blues entertainer.'
I've never done anything that I felt was crossing the line for me. But everybody has to make that decision individually. Like, I've never shot heroin to play a heroin addict. I've never turned a trick to play a prostitute. Whatever. You draw the line where you feel it could be harmful.
The podcast 'A History of Jazz' began telling its story in February - 100 years after the recording of 'Livery Stable Blues' by the Original Dixieland Jazz Band, the start of jazz as a legitimate branch of music.
There are happy blues, sad blues, lonesome blues, red-hot blues, mad blues, and loving blues. Blues is a testimony to the fullness of life.
I'm a bluesman moving through a blues-soaked America, a blues-soaked world, a planet where catastrophe and celebration... "Joy and Pain" - sit side by side. The blues started off in some field, in some plantation, in some mind, in some imagination, in some heart. The blues blew over to the next plantation, and then the next state. The blues went south to north, got electrified and even sanctified. The blues got mixed up with jazz and gospel and rock and roll.
The blues is the foundation, and it's got to carry the top. The other part of the scene, the rock 'n' roll and the jazz, are the walls of the blues.
I think we as a band, as individuals, understand that all popular music stems from blues and jazz and even pop, but rock 'n' roll especially comes from blues.
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