A Quote by Miles Davis
Everybody ought to listen to Benny [Carter]. He's a whole musical education.
Related Quotes
The distance between me and Benny [Goodman], was that I was trying to play a musical thing, and Benny was trying to swing. Benny had great fingers; I'd never deny that. But listen to our two versions of 'Star Dust.' I was playing; he was swinging.
Benny Carter came up to me and said to me, "You know, in the whole history of the alto, I think Phil is the guy we should all be emulating." The king! So look, I'm so blessed that my first hero took me in.
When I grow up I want to be just like Benny Carter!
When [Jimmy] Carter did quote them, he quoted them in what I believe were misapplications, such as arguing for the creation of a federal Department of Education. In one case, Carter quoted [Tomas] Jefferson's and [George] Washington's appreciation of education and then, in a leap, implied that they would be delighted that he was creating a giant federal bureaucracy for education.
He [Benny Carter] is all that every jazz musician the world over wants to be. He's performed 20,000 nights. How many shoes have been shined? How much mascara put on? Rouge? How many of those impossible bowties have been tied? How many love songs have been sung? How many dances have been danced? How many have passed to the sound of his music? It's been said that a man should not be forced to live up to his art. Benny Carter is one of the rare instances when we wonder whether the great art that a man has created can live up to him.
The problem of expressing the contributions that Benny Carter has made to popular music is so tremendous it completely fazes me, so extraordinary a musician is he.
I don't listen to much rap, really. I can rarely listen to a whole record of it, because musically, it's very formulaic, and oftentimes it doesn't have the best hooks on every track. I like my music to be very musical.
Education ought to be affordable for everybody. That only advances a society.
Everybody in Germany was for the -German cause. But then, after the war ended, when I heard the first Glenn Miller sound on the radio and these fantastic American music makers, I turned into a jazz fanatic. They called me Benny, after Benny Goodman. So, all of a sudden, the eyes of young Germans were opened to America - everything American was absolutely at the top of the list.
It's a spirit that was given me and the relationships and meeting all these great people, Duke Ellington, Louis Armstrong; through Max I met a lot of people too. My first album was with Benny Carter.
Listen to any musical phrase or rhythm, and grasp it as a whole, and you thereupon have present in you the image, so to speak, of the divine knowledge of the temporal order.
Benny [Carter] opened the eyes of a lot of producers and studios, so that they could understand that you could go to blacks for other things outside of blues and barbecue. He's a total musician. He was the pioneer, he was the foundation. He made it possible for that doubt to be taken away.
When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble. I don't only listen to the guitar player.
There was something so best-musical-ever when people screamed and begged for mercy, and she could listen to a good musical all day.
The main thing a poem ought to be is musical. It should be rhythmic. You should hear it as a musical piece in your head as you're writing it.
The government ought to be in the business of delivering health, education, housing, and basic services to people without a lot of game playing. There ought to be comprehensive childcare, a comprehensive approach to housing, a sane, rational way to finance education. But I also strongly believe in the notion of fundamental individual freedom.
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