Top 1200 Jazz And Blues Quotes & Sayings - Page 2

I never liked blues and I really didn't like jazz. I liked Chuck Berry.

Charlie Patton, who was born in 1891, recorded some of the very first blues. In 'Pony Blues' and 'Peavine Blues,' he manages to pile dense layers of rhythms one upon the other.

We don't live in a jazz world, unfortunately. I think if I had lived in a jazz world, I would have done OK. I'm not sure I would have done great. I'm a lover of jazz music, so I would have been happy, don't get me wrong. I go to jazz concerts like the biggest jazz fan in world. The drag is that I don't play jazz for a living.

What I consider to be the barometer for what is a rock artist and what is not, is somebody who has a certain element of blues, even a hint of soul or blues music, derivative of African-American blues, folk, spiritual, or gospel.

Jazz and blues fests are everywhere now, and Americana is going strong on college radio. What I'm hearing is an appreciation of real music.

I loved music from the age of eight. Jazz and blues. But also Little Richard and Elvis Presley.

I'm a blues guy and I listen to blues all the time and blues is timeless.

All riddles are blues, / And all blues are sad, / And I'm only mentioning / Some blues I've had.

I have learned as much about writing about my people by listening to blues and jazz and spirituals as I have by reading novels.

I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.

Jazz speaks for life. The Blues tell the story of life's difficulties.

If anybody was Mr. Jazz it was Louis Armstrong. He was the epitome of jazz and always will be. He is what I call an American standard, an American original. ... I merely took the energy it takes to pout and wrote some blues. ... I don't need time, I need a deadline. ...There are two kinds of music. Good music, and the other kind. ... Music is my mistress, and she plays second fiddle to no one.

I never liked blues music, and I really didn't like jazz. I liked Chuck Berry.

I wouldn't call myself a jazz player or a blues player.

I'm done with industrial. Seriously, my iPod collection at home has no industrial music on it; it's strictly jazz, blues and country.

The blues is played everywhere. There's no place I've been where they don't have blues or aren't interested in blues.

The whole of life itself expresses the blues. That's why I always say the blues are the true facts of life expressed in words and song, inspiration, feeling and understanding. The blues can be about anything pertaining to the facts of life. The blues call on God as much as a spiritual song do.

When I discovered Mose Allison I felt I had discovered the missing link between jazz and blues

Nowadays blues in particular has a wide, wide, wide, wide net of everything that's called blues. I think if somebody's coming to it in the last ten years or whatever, or even fifteen years, what their experience is what is called blues is different from mine. I have to expand my range of what's been called the blues. I think somebody who's new to it would have to go back and to see what is called blues now, where it came from. If that makes sense.

I've purposely made my music to be challenging and different. There's some electronics, R&B, blues, Motown, country, jazz and lots of soul.

My roots are in everything from doo-wop and blues to the Four Freshman and the Beach Boys and jazz and electronica. But it was put together in a deceptively simple package.

I love songs, and I love songwriting, and there's a standard of songwriting within Chicago blues in particular. I don't like the sad blues, necessarily; the Chicago blues is what I like, which is the kind of blues you can dance to.

For a while I had a blues band in L.A., but I realized I was too optimistic to play the blues. I did not have the misery in my heart that the blues required.

The blues brings you back into the fold. The blues isn't about the blues, it's about we have all had the blues and we are all in this together.

Blues is my life. It's a true feeling that comes from the heart, not something that just comes out of my mouth. Blues is what I love, and blues is what I always do.

I love jazz and blues, where there's a structure, but a lot of the cool stuff is veering off the page and playing.

The blues and jazz will live forever... So will the Delta and the Big Easy.

To most people, jazz-fusion means this dreadful synthetic jazz-rock thing, this jazz-Muzak, which I detest. They also think of jazz as a specific form of music, while to me it's just the opposite.

You play a 'lowdown dirty shame slow and lonesome, my mama dead, my papa across the sea I ain't dead but I'm just supposed to be' blues. You can take that same blues, make it uptempo, a shuffle blues, that's what rock n' roll did with it. So blues ain't going nowhere. Ain't goin' nowhere.

We played, jazz, blues, dixie, and it all came from the church. When I went to church, I would see the sisters and brothers doing the same beat.

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

The blues scale was the first thing I learned. It's just a pentatonic scale with a flat seventh and a few notes that sound cool when you bend them. And because people have amalgamated the blues into this rock-blues scale, if you're using it, you better sound like a real authentic blues player.

Blues and soul and jazz music has so much pain, so much beauty of raw emotion and passion.

New Orleans jazz is a complex and embracing art form that began about the same time as the blues and encompassed many of its excellences.

A lot of people think the blues is depressing but that's not the blues I'm singing. When I'm singing blues, I singing life. People can't stand to listen to the blues, they've got to be phonies.

I really wanted to be a blues/jazz/gospel singer, but times had changed and disco was now the music - the new sound. I embraced it with all my heart and the rest is history.

All the classic jazz players all sang and a lot of 'em sang blues.

Everything comes out in blues music: joy, pain, struggle. Blues is affirmation with absolute elegance. It's about a man and a woman. So the pain and the struggle in the blues is that universal pain that comes from having your heart broken. Most blues songs are not about social statements.

People think the blues is sad. They hear people moaning and such. That's not the blues. That's just somebody singing slow...The blues is about truth-telling.

Once you start collecting records you learn more and more about jazz and blues.

In order to play jazz, you have to be able to play the blues.

That's the kind of musical freedom I like: jazz, rock, blues, anything. You adopt different attitudes when you play different music.

My dad actually taught me how to play piano. I was classically trained, but I've started to branch off a little bit into blues and jazz. That's my new thing.

We were either listening to jazz or Robert Johnson, the old blues man, but not to our peers.

In my teenage years I was as addicted to great pop as I was to free jazz, electronic music, and hardcore blues.

I think the blues is fine for blues players, but free blues has never made much sense to me.

Growing up, I listened to a lot of jazz and blues records - John Coltrane and Etta James. I was also really into Radiohead and the BeeGees.

I always liked jazz. And my people liked the old blues, race records and the doo-wop and all that.

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.

So from Jazz, Blues, R&B, Soul, Classical and Country music, Hip Hop has introduced us to a little bit of everything.

I think that the blues is in everything, so it's not possible to neglect it. You hear somebody go 'Ooh ooh oooh,' and that's the blues. You hear a rock n' roll song. That's the blues. Somebody playing a guitar solo? They're playing the blues.

For me, the ultimate form of expression is blues, where jazz appeals to me on an intellectual level.

I still think the best metal bands have a blues feel. The first Black Sabbath album is kind of a bludgeoning of blues. Deep Purple also started out as a blues band.

What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man.

The jazz band's chief stimulus, of course, was the rise of the negro 'blues' and their exploitation by the negro song-writer, W. C. Handy.

Theres no way in the world I can feel the same blues the way I used to. When I play in Chicago, Im playing up-to-date, not the blues I was born with. People should hear the pure blues - the blues we used to have when we had no money.

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.

I was exposed to jazz and blues and gospel and country music and rock, and I was the only kid I knew who knew about that stuff.

"Jazz" to begin with, is a really bad word... all the true musicians that really play jazz, jazz is the worst word for it. Jazz is a process. Jazz is a creative process. It's not so much a genre, but a way of expression.

When there's an imbalance in terms of what people get to hear, then that's negative. Then blues, jazz, it will die.