A Quote by George Shearing
I think it was Duke Ellington who once said that we're always most pleased with our current record. I mean, you have to assume that you learn from one, and you do something better next time.
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We work so hard on our craft, and once we get out of Duke Ellington, there are not going to be people looking for technique. I worry about that a lot.
It's like Duke Ellington said, there are only two kinds of music - good and bad. And you can tell when something is good.
As an athlete, that's something I always take with me. You fall every day, whether it's in a job, or you miss something else, but you learn how to do it better next time. You learn it in sports. That's a life lesson.
I could turn on my radio in the morning when I was getting dressed for school and hear Frank Sinatra and Duke Ellington and Benny Goodman and think this is the music. Now that music is art. Ellington is art. At that time it was just what you heard on the radio. Cole Porter was just a guy who wrote pretty songs and Billie Holliday would sing them.
I think I go with the Duke Ellington view on music. He said, 'There's two kinds of music - there's good music, and then there's the other kind.'
You shouldn't be afraid of failure - when something fails, you think, 'What did I learn from that experience? I can do better next time.' Then kill that project and move on to the next. Don't get disappointed.
I always think, OK, this is good, but I'll do it better next time. "And so we beat on, boats against the current. . ." It may not be the recipe for a life of contentment, but that imperfectability is what makes writing such an engaging endeavor, something you can do for the rest of your life and not get bored.
I like to think Duke Ellington would probably embrace a fragrance as well.
...I believe that once you find something you love, something that works, why keep looking for more? People always think there is something better around the corner. I decided a long time ago I'd stop wasting my time looking for something better and enjoy what I had.
As for my band, well, my mentors were Duke Ellington, Benny Goodman, Jimmie Lunceford, and no one had a band more smartly dressed than Duke.
I was pleased when the picture was over I fit in all right and I spoke well enough as I said before, cause I was scared to death there for a minute. I mean, you're doing a scene with somebody like that or they're watching you or something, you'd better come up with something.
I remember the night when I was playing at Birdland, and Duke Ellington walked in wearing that cap of his and with all his elegance. The Duke then came backstage, and I was there with my band. That's the one thing I miss.
I think I just had it by osmosis: an appreciation of Duke Ellington before I really even knew who he was.
I don't think that anyone learns anything. Well, I mean, you do always learn something if you have your eyes and ears open. You do learn something from every outing, every time that you go for it. But for me what actors do is interact and that's why you have to do that.
Is there one blues guy who was the most sophisticated and influential, like Duke Ellington or Louis Armstrong in jazz? Was it Muddy Waters, Little Walter, Lightnin' Hopkins, John Lee Hooker, B.B. King, Robert Johnson, or all of them? I think you have to pick all of them.
It is really sad for the new artists. Where's the next Elvis, where's the next Beatles, where's the Zeppelin? They're out there but they don't have a chance because once upon a time we [musicians of the 60s] had record companies, and they would support you and have point of purchase material and they would give you advances. In other words, they gave you the air to breathe to find yourself and spend the time to learn how to run.
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