A Quote by Roscoe Mitchell
This is what really makes real jazz musicians: people coming out with their own voice.
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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.
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 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.
"Jazz" to begin with, is a really bad word... all the true musicians that really play jazz, jazz is the worst word for it. Jazz is a process. Jazz is a creative process. It's not so much a genre, but a way of expression.
Jazz is the greatest American art form and our greatest export. We don't pay attention to the youth of jazz, don't stoke the fires creatively for the youth coming up. I feel like jazz musicians became too much of purists - with Donald Byrd doing funk jazz in the '70s.
I always tell people that, just to be a bad jazz musician, you have to be better than most musicians. The worst jazz musicians are normally better than most musicians, because you have to know so much.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
For me, let's keep jazz as folk music. Let's not make jazz classical music. Let's keep it as street music, as people's everyday-life music. Let's see jazz musicians continue to use the materials, the tools, the spirit of the actual time that they're living in, as what they build their lives as musicians around.
I did listen to 1920s jazz or Al Johnson and a lot of early singers coming out of England. I would branch out a little bit to get a sense of the world that he might be coming into, in the '30s when jazz was changing.
Jazz stands for freedom. It's supposed to be the voice of freedom: Get out there and improvise, and take chances, and don't be a perfectionist - leave that to the classical musicians.
I put out a recording of me singing mostly jazz because I wanted people to know I'm coming from a jazz background.
It is so hard for musicians when they step into acting is they're not coming in as a blank slate, they're coming in with a real set idea of who they are, where they're coming from, what their politics are, what their tastes are.
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.
I don't mind being classified as a jazz artist, but I do mind being restricted to being a jazz artist. My foundation has been in jazz, though I didn't really start out that way. I started in classical music, but my formative years were in jazz, and it makes a great foundation.
The jazz records come out a lot. You find that with many musicians - we don't listen to our own music for relaxation.
Musicians - we're not doctors. We're not saving people's lives. We're not going out and changing the world. We're not coming up with cancer cures. We're not any of that. They're the real heroes of the world.
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