A Quote by Paul Horn

We were the first small American jazz group since Sidney Bechet in 1927 to play for the public in Moscow and Leningrad. — © Paul Horn
We were the first small American jazz group since Sidney Bechet in 1927 to play for the public in Moscow and Leningrad.
I heard Sidney Bechet play a Duke Ellington piece and fell in love with the soprano saxophone.
I grew up in the Great Depression, and the jazz artists and Dixieland musicians were at the core of our communications and enjoyment. They were not passing fancies. They are something that is, and will be, listened to again and again. I have a space of reverence for some of those old jazz stars such as Sydney Bechet and Louis Armstrong.
I have my granddad's record collection, which I treasure, and my father's - Rolling Stones to Sidney Bechet.
Sidney Poitier and Sidney Lumet were instrumental in helping me get started as the first black composer to get name credit for movie scores.
Those were the places where many people mixed if they wanted to mix, which was against the law [Immorality Act of 1927]. My mother was part of that group. My father was part of that group. People who were black and whites and Indian and Asian - and you came together and said, we choose to mix at the risk of being arrested. And so they did.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
Sidney Crosby, our greatest player, I don't want to see Sidney Crosby in the penalty box. I don't want to see Sidney Crosby hurt. I want to see Sidney Crosby play.
When I became a director, I wanted to convince a very reluctant Sidney into allowing me to go on the journey of his life. Sidney had gone ahead of every other African American actor.
As for the way we play, we are as much like the Beatles as any American Jazz group is like any other.
I never thought that the music called "jazz" was ever meant to reach just a small group of people, or become a museum thing locked under glass like all the other dead things that were once considered artistic.
Jazz is an endless source of ideas, because you can use anything. You can play operatic arias. You can incorporate them into jazz. You can play gypsy music and incorporate it into jazz. You can European classical and you can incorporate it into jazz. You can use anything and jazz it up, as they used to say.
When I play live in restaurants and cafes, I don't play my own stuff. I play jazz and 'American Songbook' standards, and I'll fuse it with top 40.
I really want to bring ensemble playing back to the forefront - not just for me, but for everyone in jazz. When you have a group, a true co-op group, you can really heighten the possibilities of all the treasures of jazz.
We're [with Robbie Robertson ] jazz musicians. The context may be rock 'n' roll but it's still jazz. It's jazz and that means improvization...you play a tune the way it feels and you play it differently every time. It can never be the same.
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.
Our first stop was red square, the heart of Moscow - if Moscow has one.
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