A Quote by Wynton Marsalis
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
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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.
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 are affected by the audience just as much as audiences are affected by the musicians. The only problem is that often times musicians won't allow themselves to admit to that fact.
I don't get so much inspiration from other musicians. Especially alive musicians. Late musicians are good - Bach, Beethoven - yes, good.
Marijuana is taken by musicians. And I'm not speaking about good musicians, but the jazz type.
I'm thrilled when I hear the greatest jazz musicians. They continue to search in ways other musicians do not.
After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.
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.
There is an apprenticeship system in jazz. You teach the young ones. So even if the musicians weren't personally that likable, they felt an obligation to help the younger musicians.
I was afraid the other musicians might want to present themselves too much, though I see in the coverage I've received of the album that the musicians got wonderful reviews for their contributions and abilities. I think the four musicians played freely within my limits.
It was about finding creative, original musicians. Musicians who are strong composers. Flexible, empathetic musicians, who are great individually but who also have a great sense for cooperation and collaboration, great listeners as well as great players.
Musicians don't respect a lot of the stuff that is on TRL and a lot of musicians think that stuff on the radio is not good musically so when musicians say that they like us it obviously feels good.
The availability of downloads is fantastic, but you don't know which musicians are playing on the songs anymore. It's kind of making musicians faceless, you don't get musical solos on records anymore. You know who the singer is but it's the poor old musicians who suffer.
You always feel like rock critics are frustrated musicians. I envy musicians their ability to live their art and share it with an audience, in the moment.
What I try to do is produce an atmosphere where musicians want to invest in what they do and give to the recording. I hire those musicians who I know will play something creative and interesting.
Artists, whether they're classical musicians or pop musicians, they have always been the reflection of society, and in many ways a healing part of whatever is wrong in society, and I think it's important for us to continue to do that, and I don't see enough of it today.
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