A Quote by Kurt Elling
I didn't arrive on the scene until after Jaco Pastorius had passed, but 'Three Views of a Secret' is a long-time favourite of mine.
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I've been friends with Jaco Pastorius's son since 1996 - Johnny Pastorius, the eldest son. And I remember when I first met him, I said, 'Some day, you've gotta make a film about your father,' because his influence is so broad.
I started taking the bass more seriously when I heard Jaco Pastorius.
I just wanted to experiment with the bass, and my main influence from Jaco Pastorius inspired me to write music in a certain way.
Jaco Pastorius gave the bass a new voice. I mean, he was very inspired by singers like Frank Sinatra. And in a lot of ways, maybe he wanted to be a singer himself.
It happened to be, from '73 to '78, the five years that, our most glorious years for bass players. We had Larry Graham, with his own band, Stanley Clarke with his own band. We have Bootsy doing his thing. We had Jaco Pastorius. They were all leading their own bands.
I like Jaco Pastorius' 'Portrait of Tracy.' He was this bass player who played jazz fusion. He was the dopest bass player who ever lived.
All good that you have done for the humanity, keep it like a secret; do your goodness in the shadow! Let one day others find this secret, preferably long after you have passed away!
She [Joni Mitchell] wanted to have that (jazz) element in her music. Of course, when she heard Jaco's [Jaco Pastorius'] music and met him, that floored her -- really grabbed her. She decided that Wayne Shorter was really conducive to her music. She would speak metaphorically about things. "I want this to sound like a taxicab driver, or a taxi in New York," or "I want this to sound like a telephone ringing." She would speak to musicians like that, and we really tuned into what she would want our music to be.
Over any such tangled wave of problems the S-1 secret would be dominant and yet we will not know until after that time probably, until after that meeting, whether this is a weapon in our hands or not.
Long after her death I felt her thoughts floating through mine. Long before we met we had had the same dreams. We compared notes. We found strange affinities. The same June of the same year (1919) a stray canary had fluttered into her house and mine, in two widely separated countries. Oh, Lolita, had you love me thus!
I think that sharpens the intention of a scene and clarifies a story's arc. Of course, I don't seek the questions until after I've written a scene - or maybe after I've daydreamed it.
It is such a secret place, the land of tears. That is what the narrator ofThe Little Prince says after the little prince argues with him the first time about matters of consequence. And he was right. My land of tears had been a secret for a very long time.
Rae Chorze-Fwaz has preserved and passed on their secret meditation techniques in oral tradition from the time of Atlantis until he present day.
He (Cato) used to say that in all his life he never repented but of three things. The first was that he had trusted a woman with a secret; the second that he had gone by sea when he might have gone by land; and the third, that had passed one day without having a will by him.
That one long scene in the Leftovers I have with David Gulpilil was seven pages long. When we finished it, Mimi Leder said, "I thought you were gonna do this in bits and pieces. You just did the whole thing." And I literally couldn't remember the scene. It wasn't that I was in a trance. I said, "Just keep shooting takes until you see what you want." In 48 years of acting, which is also how long I've been married, that had never happened to me.
I had toward the poetic art a peculiar relation which was only practical after I had cherished in my mind for a long time a subject which possessed me, a model which inspired me, a predecessor who attracted me, until at length, after I had molded it
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