A Quote by Sam Shepard
I still find it hard to believe that the whole era of jazz is over.
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I went through the whole number, you know. The swing era, the boogie woogie era, the bebop era. Thelonious Monk is still one of my favorites. So a lot of these people had their effect on me.
I especially like Duke Ellington jazz, which is a little more... I lived in New York for a while. I lived in Harlem for a bit, and I just fell in love with the idea of that era of New York, that jazz era, especially jazz in Harlem.
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 grew up hearing over and over, to the point of tedium, that "hard work" was the secret of success: "Work hard and you'll get ahead" or "It's hard work that got us where we are." No one ever said that you could work hard - harder even than you ever thought possible - and still find yourself sinking ever deeper into poverty and debt.
It's funny to find there are still people around who think if a musician has schooling, it automatically makes him a lesser jazz player. But you don't learn jazz in school.
I worry more about the marketing that's taken hold since the 70s. The Jazz era, the Swing era, those were huge. Entire decades were named for music. In the 1940s - after World War II - changes in taxation, ballrooms closing, people moving to the suburbs, and the onset of target marketing and the confusion of commerce with art caused some things to happen as a result that have taken us away from jazz and what jazz offers us.
I still believe in old school values, I still believe in hard work, I still believe in wrestling, and people have showed that's what they want to see.
Nobody knows where jazz is going, because nobody has ever known where jazz was going. I mean, you couldn't possibly predict the Swing Era from the '20's or bebop from the Swing Era or Avant-garde from Bebop, or Effusion, or on and on and on. So, we don't really know where it's going.
I have a fondness for jazz, particularly for jazz singers, Billie Holiday and Ella Fitzgerald all the way through the Sinatra era.
My first Grammy wasn't even in a jazz category, but of course I was really excited. 'Rockit' was the beginning of kind of a new era for the whole hip-hop movement.
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.
I find mediocrity hard. I find that whole area difficult. I'm a very passionate person; I care very much about what I do. I believe I give it a lot, so it's gotta be good; otherwise, what's the point?
I was born in the USA, which many people still find hard to believe.
The average age of the Jazz audience is increasing rapidly. Rapidly enough to suggest that there is no replacement among young people. Young people aren't starting to listen to Jazz and carrying it along in their lives with them. Jazz is becoming more like Classical music in terms of its relationship to the audience. And just a Classical music is grappling with the problem of audience development, so is Jazz grappling with this problem. I believe, deeply that Jazz is still a very vital music that has much to say to ordinary people. But it has to be systematic about getting out the message.
At Carnegie Hall the Preservation Hall Jazz Band showed how easily it could hop from era to era. It could work like a rhythm-and-blues horn section or a tightly arranged little big band if need be, but it could also switch back into the polyphonic glories of vintage New Orleans jazz, in which nearly every instrument seems to improvise around the tune at the same time.
If you ever saw All That Jazz [1979], Bob Fosse was kind of raised dancing in strip joints and the whole era of burlesque, and that form ran his visual aesthetic, the pacing and rhythm of what he did.
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