A Quote by Norman Granz
The whole reason for Jazz at the Philharmonic was to take it to places where I could break down segregation.
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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 listened to classical music. I listened to jazz. I listened to everything. And I started becoming interested in the sounds of jazz. And I went to a concert of Jazz at the Philharmonic when we lived in Omaha, Nebraska, and I saw Charlie Parker play and Billie Holiday sing and Lester Young play, and that did it. I said, 'That's what I want to do.'
My life has been going in ways I never could have dreamed of - doing the closing celebration for the Olympic Games and being appointed the creative chair for jazz at the L.A. Philharmonic. So I've just decided I'll go with my flow and be very prepared.
For years, Jazz At The Philharmonic albums were the only ones of their kind.
The whole reason I did a bodybuilding show was to see how far I could push my own discipline. It was the hardest thing I've ever done. When I made the switch to acting, I was able to break that down into small, measurable goals like I did with bodybuilding.
The whole point is, give me a break with the standards. You go to the average jazz label and suggest a record and they want to know which standards you're going to play. I'm saying let's break the formula.
There's five factors or characteristics of places where kids from poor backgrounds don't do very well. And those are places that have more economic and racial segregation, places with more income inequality.
You can take my dirtiest, craziest joke, and I can break down in my head why there's a good, honest, honorable reason for telling it.
Yeah, don't you take a break?" "I don't have time for breaks." "That's the whole point of a break. When you've got no time, you need a break.
I draw the line in the dust and toss the gauntlet before the feet of tyranny, and I say segregation now, segregation tomorrow, segregation forever.
Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.
Through the dark days of legalized segregation and on into the civil rights era, jazz shone as a beacon for achieving interracial respect and understanding. It seemed as if the dream of a color-blind society was within reach in the jazz world, where musicians were judged on merit and not skin color.
The beauty of jazz is that it can accommodate all styles. You can take jazz and put rock in it, and it's still jazz.
If you can give it, I can take it
'Cause if this heart is gonna break it's gonna take a lot to break it
I know tonight, somebody's gonna win the fight
So if you're so tough, come on and prove it
Your heart is down for the count and you know you're gonna lose it
Tonight you're gonna go down in flames
Just like Jesse James
Segregation now, segregation tomorrow and segregation forever!
I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
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