A Quote by Rita Coolidge
I've always loved jazz.
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I have always loved jazz music and as a teen growing up in New York City and then later on as an adult have great memories of the jazz clubs that were all located on 52nd Street. I still catch as many jazz shows as I can when I am in New York. And when I perform, I have my jazz quartet by my side. Jazz musicians keep things spontaneous and very "live," which is the way I like to perform.
Lars Ulrich is not a jazz drummer, but he grew up listening to jazz. Why? Because his father, Torben - an incredible tennis player - loved jazz. Jazz musicians used to stay at their house.
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 leaned toward free jazz... experimental jazz and progressive jazz. I feel like jazz is just part of the flavor and palette that you have as a musician to experiment with.
I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!
I've always loved black culture; I don't know any other way to put it. Since I was a kid I loved music and early jazz, Sly and the Family Stone.
I had always been a jazz fan - Django Reinhardt, Kenny Burrell, Wes Montgomery, Joe Pass, the early George Benson. And I come from the Hank Marvin melodic upbringing. So blues, I loved, but I also liked jazz. Therefore, my style was more lyrical.
I'm not a jazz musician, because, I mean, firstly, I can't play anything. I'm not bad on the tamborine. I have a certain way with the triangle. But I'm not a jazz musician ... my band, they always joke, they always say that I'm a disposable, pop, jazz superstar.
I've always loved black culture; I don't know any other way to put it. Since I was a kid I loved music and early jazz, Sly and the Family Stone. I'm older - I'm in my early 50s - so you'll have to excuse me. That was always very exciting to me to connect to the culture on that level.
My father is a jazz musician, so I grew up hearing jazz. My parents loved it, but I didn't like it. It went on for too long. Yes, I had certain teachers that really inspired me, like Danny Barker, and John Longo. And I had no idea that I would have any impact on jazz.
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.
If I have to be considered any type of jazz artist, it would be New Orleans jazz because New Orleans jazz never forgot that jazz is dance music and jazz is fun. I'm more influenced by that style of jazz than anything else.
Kenny G is not real jazz. I don't even think Wynton Marsalis is real jazz. I don't think Harry Connick Jr. is real jazz. If there is such a thing as real jazz, The Lounge Lizards is real jazz, Henry Threadgill is real jazz, Bill Frisell is real jazz, you know?
Jazz was always cool. That was what I liked about jazz - it was always cool. Now I see the cats that were basically cool getting kind of uncool. So that ruins what I feel about jazz.
I once tried to sing jazz for real. But jazz didn't do it for me. You can't have jazz without a jazz world, which doesn't exist anymore.
Jazz shouldn't have any mandates. Jazz is not supposed to be something that's required to sound like jazz. For me, the word 'jazz' means, 'I dare you.'
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