Top 1200 Jazz Quotes & Sayings - Page 17
Explore popular Jazz quotes.
Last updated on December 11, 2024.
I'm the first one out on the dance floor. In college I had to take jazz, ballet and tap dancing, but, before that, it was just social.
One of the most important functions of jazz has been to encourage a hope for freedom, for people living in situations of intolerance or struggle.
So from Jazz, Blues, R&B, Soul, Classical and Country music, Hip Hop has introduced us to a little bit of everything.
It is evidently known, beyond contradiction, that New Orleans is the cradle of Jazz and I, myself, happened to be the creator in the year 1902.
To me I grew up watching 'All That Jazz' and 'Cabaret,' and when I was younger 'Mary Poppins',' The Sound Of Music,' and 'Singin' In The Rain.'
I learned mainly by listening to Andres Segovia and that was a great inspiration. And also the gypsy jazz guitarist Django Reinhardt.
I went to North Texas State, one of the great jazz schools. When I realized I wasn't going to be Miles Davis, I switched my major to English and theater.
Guitars, there was rock 'n' roll. Saxophone, jazz. Now we have the computer and there's this electronic thing happening in music that is somewhat superhuman.
I'm sure there are people who say like, "I was wearing weird emo eyeliner," but there's something pretty embarrassing about the jazz phase.
There's a richness to the old works if you look before the 1950s. The chord progressions and the language was more complicated, especially in the jazz and classical world.
I didn't really think I liked jazz all that much until I was about 18. That's when the freedom and possibilities of it began to seem appealing to me.
Life is like a great jazz riff. You sense the end the very moment you were wanting it to go on forever.
I don't know if the music moves forward anymore. I haven't heard anything for years - except refinement - coming out of the jazz world.
I think the singer/songwriter genre is going to be like bluegrass and jazz. You can make a living at it, but it's not part of the musical mainstream anymore.
I think the challenges for me was to go into the studio with these incredible jazz players and come up to their level of excellence. That's always a challenge.
Charlie Parker said, 'Jazz comes from who you are, where you've been, what you've done. If you don't live it, it won't come out of your horn.' It's the same with the revolution.
I listen to all kinds of songs. There's something to be learned from every type of music and from the one making it, whether it's pop or jazz or hip-hop.
Certain jazz musicians just copy what was done 100 years ago. The music won't grow if nobody takes a risk.
I have a huge record and cd collection of all kinds of great classical, jazz and all music but I find the internet very accessible and quick.
The jazz records come out a lot. You find that with many musicians - we don't listen to our own music for relaxation.
Martin Williams persistently gets at essences, and that is why he has contributed so much to the very small body of authentic jazz criticism.
I'd love to act. I feel that it's another naked, mysterious challenge, like jazz. It kind of intrigues me in the same way.
Yes, I have been studying piano since I was six. Classical, jazz, compositional, Broadway, everything. I just love it all.
I love that pre-mod jazz look of the late Fifties, the Steve McQueen style that influenced the British modernists.
Most people don't know that Congo Square was originally a Muscogee ceremonial ground... in New Orleans, the birthplace of jazz.
Herb Wong was an incredible man. We met when I was performing with Clark Terry at the Wichita Jazz Festival around 1974.
In the year of 1902, when I was about seventeen years old, I happened to invade one of the sections [in New Orleans] where the birth of Jazz originated from.
I like to capture the spirit of what the writers intended but find my own nuances. That comes from jazz - the invention and freeness within a structure.
Jazz is very much a part of my life. I work with the Thelonious Monk Institute and do the artwork for their program every year.
Truth be told, I think jazz is a mind-set. It's not necessarily, like, this guy picked up a horn and did this or whatever.
Some people are born with a brain that has this weird, magical mathematical thing that makes them an amazing jazz musician.
Utah has become my home and I am excited to be able to continue my career playing for the Jazz and the best fans in the NBA.
People sometimes say it takes a long time to become a jazz fan, but for me it took about five seconds.
I think the Flecktones are a mixture of acoustic and electronic music with a lot of roots in folk and bluegrass as well as funk and jazz.
Ultimately, I'd say a lot of my vocal influences are jazz-based, people like Ella Fitzgerald, or Fred Astaire.
Playing the sax and then enjoying jazz music, man - it's like I learned how to find words inside of the beat.
I'm really getting to appreciate traditional jazz now - the New Orleans stuff - a lot more than I did before.
Country music as a genre, as an art form, is just as valid out there in the pantheon of the arts as classical, jazz, ballet, whatever.
I always had a great appreciation for jazz, but I'm a very pedestrian musician. I get by. I like to think that my main instrument is vocabulary.
I prefer music where melody, harmony and rhythm come together and no one element overshadows the other. Jazz at its best is a democracy of creativity.
I found that jazz musicians, possibly more than their classical counterparts, wear long-standing friendships easily and gracefully.
I think that band [Glenn Miller] was the beginning of the end. It was a mechanized version of what they called jazz music. I still can't stand to listen to it.
It's been thrown up to me most of my life: Why don't I just concentrate on conducting or composing or my own playing or on jazz?
I think more than writers, the major influences on me have been European movies, jazz, and Abstract Expressionism.
I fell in love with playing the trumpet because of what we call 'hot jazz' of the 1920s and 1930s, music that has a higher energy to it.
I listen to a mixture of old jazz, contemporary, pop, some world beat stuff and various odds and ends.
It's not easy to play in a framework that requires simplicity and to tastefully find ways to interject the kind of freedom that we have in playing jazz.
We were the first small American jazz group since Sidney Bechet in 1927 to play for the public in Moscow and Leningrad.
I love most melodic music - classical, reggae, big band, jazz, blues, country, pop, swing, folk.
Hip-hop is mostly what I listen to, other than jazz. I've given up on pop music and indie rock.
I didn't really grow up on hip-hop. Ella Fitzgerald and the old school jazz divas are more my comfort zone.
There are only a handful of guys in the NBA who are going to be superstars and I think I found a bit of a niche with the Jazz to come off the bench and do what I do.
I've mainly been sampling jazz because the tone of the chords are expressive in itself, so it's quite nice to write over.
By the time I approached my forties, I had the self-assurance to approach all the genres I love so deeply: R & B, rock, jazz, and pop.
The stories from 1975 on are not finished and there is no resolve. I could spend 50 hours on the last 25 years of jazz and still not do it justice.
At 14 and 15, I used to listen to Tito Puente, Dave Valentine and everything that was happening with American jazz. I love it.
That's the thing: There are so many art songs in jazz. It's a much more rich experience for the singer than people think.
My other friends are in music relaxation class, which I do not attend, because smooth jazz makes me angry sometimes.
I'm playing jazz throughout the song 'Black Sabbath.' That's what it is there. I mean, I'm moving some other things around, but that is forever in there.
As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.
