A Quote by Josephine de La Baume

I grew up with classical music blasting in my parents' living room and my older brother's practicing saxophone in his room listening to jazz... a beautiful chaos. — © Josephine de La Baume
I grew up with classical music blasting in my parents' living room and my older brother's practicing saxophone in his room listening to jazz... a beautiful chaos.
I grew up listening to my parents' albums. Many of them were either classical - Bach, Beethoven and Brahms - or easy listening, like Mantovani. I loved the spectrum of emotions in classical music, from fortissimo to pianissimo. My early passion for classical made my drumming more musical later on.
I grew up with a beautiful gold harp sitting in our living room. My older sister played it.
I was a quiet, nerdy kid living in the Bronx. I spent most of my teens in my room, taking apart electrical items to figure out how they worked before putting them back together, and listening to the music my four older sisters and parents played.
Ballet Beautiful is about finding balance and making fitness a part of your life in a happy, healthy, rewarding way where you get to feel pretty and look beautiful. It's not about beating yourself up in the gym and locking yourself in a dark room with blasting music.
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.
My brother's 21 years older than me, so I grew up doing more adult things. Like listening to old music.
I grew up listening to a lot of classic jazz, and stuff like The Beatles, and old Motown stuff, and a lot of classical music. I just loved all of that.
In a way, the history of jazz's development is a small mirror of classical music's development through the centuries. Now jazz is a living form of original music, while classical music has gotten to the end of its cycle in terms of exploring its form.
That's the beautiful thing about the saxophone. It can peacefully coexist with just about anything - whether it's hip-hop, rap, rock music, pop, R&B or jazz, there's a place for the saxophone in all of those styles.
I would say I grew up listening a lot to Barbra Streisand and Judy Garland and Joan Baez and Joni Mitchell. I grew up listening to those because my parents were kind of into folk music.
I grew up on the side of the stage. I never had a fear of an audience. I never felt like they were separated from us. We were all in the living room, and it happens to be a big living room. I continue to operate on that assumption.
A man is like a two-story house. The first floor is equipped with an entrance and a living room. On the second floor is every family member's room. They enjoy listening to music and reading books. On the first underground floor is the ruin of people's memories. The room filled with darkness is the second underground floor.
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.
My parents were 30 years older than I was, and my parents had my brother and I ten years apart. My parents grew up in segregation, and they both lived in all-black neighborhoods and grew up with large black families. I didn't have any of that, and I didn't understand feeling so differently and being treated so differently.
And old Dave, he'd go up to his room, y'understand, put on his green velvet slippers - I'll never forget - and pick up his phone and call the buyers, and without leaving his room, at the age of eighty-four, he made his living. And when I saw that, I realized that selling was the greatest career a man could want.
Obviously there are pieces of classical music that are some of the most beautiful music ever written, for me anyway is a lot of classical or contemporary music, so it's a different kind of space that you enter when you're listening to it.
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