Top 1200 Big Band Quotes & Sayings - Page 3

A good analogy is stretching a rubber band. You can stretch and stretch and even feel the tension increase in the muscles in your hands and arms as the gap from one end of the band to the other widens. But at some point you reach the limits of elasticity of the band and it snaps. The same thing happens with human systems.

One interesting thing about jazz, or art in general, but jazz especially is such an individual art form in the sense that improvisation is such a big part of it, so it feels like it should be less soldiers in an army and more like free spirits melding. And yet, big band jazz has a real military side to it.

I would join a band, learn from that band and be committed and passionate and bring my thing to the band. Then, when I felt like we were going to repeat ourselves, and I needed to learn more, I would go somewhere else.

If I had my way, I would build a lethal chamber as big as the Crystal Palace, with a military band playing softly, and a Cinematograph working brightly; then I'd go out in the back streets and main streets and bring them in, all the sick, the halt, and the maimed; I would lead them gently, and they would smile me a weary thanks; and the band would softly bubble out the 'Hallelujah Chorus'.

Every good band in the world was a cover band first. The Beatles were and the Stones were. Everybody was a cover band.

I think that every band is different, and in fact that's one of the biggest problems with the old-school music industry is that... one band would be successful according to a certain approach, and then every other band in the label gets sent down the same tube.

You'll never find a Manchester band slagging off another Manchester band, but within each Manchester band, people will rip each other apart: Mondays, Smiths, New Order, Roses, Oasis.

I am one hundred percent dedicated to Hellyeah. I love what I do in this band. I'm really proud of this band. Everybody in this band is such a special person, and the music that we make together, I really believe, is very special and the next level in my life.

I pretty much built a band out of the most incredible guys I could possibly find. I didn't really want a six-piece band, but it just ended up being a six-piece band because these guys are all awesome.

When we opened Babbo, we were an indie band. Now we're kinda Apple. We have 19 restaurants and 2,800 employees, we are no longer perceived as the indie band although we think of ourselves as the indie band, and we operate our restaurants as individual indie bands.

The great thing about rock-n-roll is you realize the top of the mountain is big enough for more than one band.

None of us went to university, none of us went to college, none of us played in a different band before, none of us done anything. We were the last great band to come out of nowhere, on an indie label. We've sold 50 million records. That's still the benchmark. Until someone does what we've done, I'll always consider myself the last big songwriter

It's a farmers market. You can get whatever - peaches, a sandwich. There might be a little band there. I'd sit in with the band. Yeah, that's what I would do. Sit in with the band at the farmers market. Sing a couple of songs, eat a peach, and hug people.

The rock-band crowd is so different from any other crowd. Because when they are there to see they band, they there to see they band.

I love most melodic music - classical, reggae, big band, jazz, blues, country, pop, swing, folk.

It's a big shame, because 'Trixter' in my mind were what a real rock n' roll band is all about.

To me, the band is like one of my homes, in fact. It's not like, 'I've got to get out of this band. I've got to go home.' This band is home in a lot of ways. It's my closest friends; it's a place where I really feel comfortable and happy.

I've accepted the fact that Limp Bizkit is my band, one that I'm a part of, a band that I've built from the beginning. It does me no good to be in somebody else's band playing their music, like Marilyn Manson or Korn. Being in Limp Bizkit allows me to be myself.

Things got big quickly for us, and playing arenas... it's like - and every band will tell you this - you don't see any of the town.

To put my name on a track as a solo artist was a big deal to me. There was no band to act as a buffer.

If you're big in Montreal, you're big in Quebec. If you're big in Toronto, you're big in Canada. But if you're big in New York, you're big in the rest of the world.

One of the big things that broke the band up for me, which I've become much clearer on over the years, was that I had no desire to be famous.

I was in every band class I could get in, like after school jazz band and marching band, and that's where I really learned to read music from elementary all the way through junior high and high school.

It is not very practical in today’s world when you tour all over the place having a big band.

What we admit to is being a rock n' roll band. From day one, I was a big Chuck Berry fan.

I certainly didn't want to be in a punk rock band, because I had already been in a punk rock band. I wanted to be in a band that could do anything - like Led Zeppelin.

I actually knew Sully's sister, and I was in a band called Stripmind, and then I became roommates with Sully and being out of a band, he asked if I wanted to join in his. Tony was originally the second guitarist in the band; a guy by the name of Lee Richards was the first. The rest is pretty much history.

I don't see us as a big media gimmick band. We don't have a cultivated appearance or anything like Kiss.

There was just one time when the band took a big break, and I did that Nina project in Japan in 1999.

I played Big Band jazz music. I wasn't into rock and roll. I was just there because it was a living. I surprised everyone. I'm still surprising people.

I enjoy playing the band as the band. I 'be' the whole band and I'm playing the drums, I'm playing the guitar, I'm playing the saxophone. To me, the most wonderful thing about playing music is that.

Never underestimate a girl’s love for her favorite band. Never think even for a minute, that she won’t defend them to her death. Because it’s not just the music that makes that band her favorite. It’s the guys, the gals. It’s the fans. People whom of which she has interacted with thanks to the band. That band might of saved her life, or just made her smile everyday. That band has never broke her heart and has yet to leave her. No wonder she finds such joy in her music.

I was two years old when I told my mom I was going to be in a band when I grew up, and I was four years old when I started my first band with my neighbors. Before I knew how to do anything, I was figuring out how to be in a band.

I was a fairly good amateur musician, and I was an average professional. But the one thing I saw was that the big band business was fading.

Contractual obligations may not allow it, but that's a big dream of mine, to be able to make an album with a rock band.

Then I left that school and I went to Cerritos College, which was in southern California; they had one of the best big band programs in the country at the time.

One of the negative sides of a really intense arc as a touring band is there are big gaps in your memory because you're so exhausted.

With a smaller setting, you have a lot more freedom and flexibility within a given moment, but not necessarily the velocity you have with a big band.

I don't travel that much with my band Los Pacaminos as it's quite a big crowd, but we got invited down to southern Italy once.

I used to do this big rant at the end of some gigs with Ben Folds Five. The band broke into this big heavy metal thing and I started as a joke to scream in a heavy metal falsetto. I found myself saying things like: Feel my pain, I am white, feel my pain.

Every band is different just because of the different combinations of people really are super unique to every band. The way you work together and the personalities that are being brought to the table. Our band is definitely the best combination of personalities I've worked with so far.

For any band that ends up becoming really big, yeah, hard work has something to do with it, but a lot of it is just pure luck.

The stereotypical rock-star-trashing-a-hotel-room thing? Those days had passed by the time I was in a band big enough to do it.

It is not very practical in today's world when you tour all over the place having a big band.

The point of being in a band, for instance, isn't to get big; it's about enjoying playing shows.

I started a band [Big Japan] for fun. These sticks break easily, but they feel good.

At Carnegie Hall the Preservation Hall Jazz Band showed how easily it could hop from era to era. It could work like a rhythm-and-blues horn section or a tightly arranged little big band if need be, but it could also switch back into the polyphonic glories of vintage New Orleans jazz, in which nearly every instrument seems to improvise around the tune at the same time.

The act of the being in the band has very little in common with writing songs. The songs come out of it, and the band is necessary for the songs to emerge, but the band doesn't exist just so the songs can emerge.

A lot of groups go out, and they make big bucks in a couple of years and they're gone. I would like a band that's sustaining.

Going to the Grammys, being nominated for a Grammy, that was a really big deal for me, for us as a band.

I'm glad we turned into a big-time touring band later in life. In fact, it's almost like we planned it out that way.

I have seven uncles, and my dad played bass, they had a band together, that was the family band. And of course as the cousins got older, including myself, we joined a family band. All the cousins played. That's my heritage.

Well, Peter Rowan and I had plans to form a band when he left Bill Monroe. I always thought it was going to be a bluegrass band, but I guess when Peter left Bill Monroe he had had enough of bluegrass. He had written some songs and of course the Beatles were a big influence back then. So, we decided to something different and it ended up being that.

I grew up in a very musical family, my father was a musician and a big band leader and made records.

The ability to work every day was a big part of L.A.'s effect on my process and the band coming out from Philly once a month.

I had a ten-piece band when I was 21 years old, the Bruce Springsteen Band. This is just a slightly expanded version of a band I had before I ever signed a record contract. We had singers and horns.

I don't know that I make a big distinction between the big pieces and the little pieces, because I don't experience them in that way. I mean, by the same token, you're out touring with a band and then you're writing string quartets, and in a funny way, isn't it all the same, in a way? It's all just music.

I have a personal Twitter for band purposes, but I don't use social media a lot. I fall in a weird age gap. I was on band message boards when I was 16, but I was on the early curve of Facebook. I did it for work when I worked in media, and I did it for the band, but I can't relate to the idea that you live your life online.

When the band first formed, everybody had been sidemen. So they said, 'In this band there are no sidemen,' and when I joined the band, it was still the same. There were some power struggles emerging, because Henley and Frey had sung all the hits at that point.

To actually get together and make a band record feels like a bit of a big deal, and that can be quite daunting when you're musicians.