A Quote by Terry Teachout
As late as the early '50s, jazz was still, for the most part, a genuinely popular music, a utilitarian, song-based idiom to which ordinary people could dance if they felt like it.
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I've trained in dance for most of my life, but ballet was the thing I left behind the earliest because they felt like I didn't have the right body for it, and I didn't like that and never felt like I could be a part of that dance structure.
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.
I don't know why people call me a jazz singer, though I guess people associate me with jazz because I was raised in it, from way back. I'm not putting jazz down, but I'm not a jazz singer...I've recorded all kinds of music, but (to them) I'm either a jazz singer or a blues singer. I can't sing a blues – just a right-out blues – but I can put the blues in whatever I sing. I might sing 'Send In the Clowns' and I might stick a little bluesy part in it, or any song. What I want to do, music-wise, is all kinds of music that I like, and I like all kinds of music.
You put music in categories because you need to define a sound, but when you don't play it on your so-called radio stations that claim to be R&B or jazz or whatever... All music is dance music. But when people think of dance music, they think of techno or just house. Anything you can dance to is dance music. I don't care if it's classical, funk, salsa, reggae, calypso; it's all dance music.
I was seduced by the nouvelle vague, because it was really reinventing everything. And the Italian cinema that one would see in the theaters in the late '50s, early '60s was Italian comedy, Italian style, which, to me, was like the end of neo-realism. I think cinema all over the world was influenced by it, which was Italy finding its freedom at the end of fascism, the end of the Nazi invasion. It was a kind of incredible energy. Then, late '50s, early '60s, the neo-realism lost its great energy and became comedy.
Bob felt everything that happened around him, and he put that reality into his music. And those things are still happening, which is why his music endures. It is music that still has meaning in people's lives. And you can dance to it.
I felt very proud to be part of a music scene that was changing the face of commercial music and rock music internationally, but I also felt like it was necessary for Soundgarden - as it was for all of these Seattle bands - to prove that we deserve to be on an international stage, and we weren't just part of a fad that was based on geography.
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.
Early American music and early folk music, before the record became popular and before there were pop stars and before there were venues made to present music where people bought tickets, people played music in the community, and it was much more part of a fabric of everyday life. I call that music 'root music.'
An era that I specifically like is sort of late '50s, early '60s. I guess mid '50s, too. I like these types of films that deal with post-WWII America and this more complex leading man that kind of emerges from that.
To most people, jazz-fusion means this dreadful synthetic jazz-rock thing, this jazz-Muzak, which I detest. They also think of jazz as a specific form of music, while to me it's just the opposite.
Jazz should be recognized as music of the people, based in a lot of accents and melodies. What is jazz but music that people danced to? Jazz has the dynamic thing. I don't think you have to be playing only Charlie Parker licks on your horn or whatever the new version of that is.
Jazz scares me. I've witnessed so many incredible singers and jazz musicians. Pop and soul music have always been the things that I felt like I could do.
All New Orleans music is based off dance music, even jazz.
All the forms of popular music from jazz to hip-hop, to bebop, to soul [come from black innovation]. You talk about different dances from the catwalk, to the jitterbug, to the Charleston, to break dancing -\-\ all these are forms of black dancing...What would [life] be without a song, without a dance, and joy and laughter, and music.
I grew up in a home filled with music and had an early appreciation of jazz since my dad was a jazz musician. Beginning at around age three I started singing with his band and jazz music has continued to be one of my three passions along with acting and writing. I like to say jazz music is my musical equivalent of comfort food. It's always where I go back to when I want to feel grounded.
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