Jazz is a word they use to sell our music, but to me that word does not exist.
Once you start collecting records you learn more and more about jazz and blues.
Jazz is an octopus. It will take whatever it can use and it will work with it.
It's something that - jazz is one of the few things that you can go and listen to, I don't care where you're from, what you are, what background you come from - there's something there for you.
Jazz speaks for life. The Blues tell the story of life's difficulties.
Jazz tickles your muscles, symphonies stretch your soul.
Jazz music by its very nature is just a conglomerate of a lot of different kinds of music.
My mother is a singer, still performs today; she's a jazz singer.
Jazz is not background music. You must concentrate in order to get the most out of it. You must absorb it.
I don't think that jazz, as any kind of an art form, has any permanence attached to it, apart from the practitioners of it.
I never liked blues music, and I really didn't like jazz. I liked Chuck Berry.
I don't like freedom jazz - I think it's void of roots and void of foundation.
The first jazz musician was a trumpeter, Buddy Bolden, and the last will be a trumpeter, the archangel Gabriel.
As far as I'm concerned, the essentials of jazz are: melodic improvisation, melodic invention, swing, and instrumental personality.
I flow between modern and traditional jazz, between samba and choro - all maybe in a week's time.
And will I like being called a jazz-baby?
You will love it.
I like jazz, rock n' roll, some hip hop - I can't think of any music I don't like.
I don't know who's 18 years old today that, 20 years hence, is going to be a jazz fan.
It is jazz music that called me to be a musician and I have always sang the songs that moved me the most.
Jazz onstage is a very intimate exchange between everybody that's onstage.
Jazz was the pop music of its day, and all American popular music has stemmed from it one way or another.
Blues and soul and jazz music has so much pain, so much beauty of raw emotion and passion.
All the classic jazz players all sang and a lot of 'em sang blues.
I had my jazz club and I had enough money. So I didn't have to write for my living.
Intermittently in my concert format, I sing a little jazz, a little scatting.
Then I took 8 years of French Horn, first jazz, and then classical.
For me, the ultimate form of expression is blues, where jazz appeals to me on an intellectual level.
I love jazz and funk, because it's hard. If it's not hard, it's not worth doing.
I feel that I have an obligation to jazz and also to myself to play as good as I can play.
I wasn't a jazz player, but a classical musician, and I improvised arrangements of popular songs using classical motifs.
I didn't like progressive jazz or anything. Rock was something I like to listen to.
The genius of our country is improvisation, and jazz reflects that. It's our great contribution to the arts.
I believe in dressing for the occasion. There's a time for sweater, sneakers and Levis and a time for the full-dress jazz.
I like mellow music. I like some jazz. But I'm not a big hard rock guy.
What I wanted to do was music, until I was about 16. But it was jazz and rock, never classical music.
My work has been marginalized as far as the jazz-business complex is concerned, or the contemporary-music complex.
I played in school jazz bands and tried to start rock bands, but nobody was interested.
I've always wanted to record a jazz record. I did one in the '70s with Barbara Carroll. It's been a journey.
What I like is not a particular genre, it's storytelling. There's a lot of great storytelling in jazz, and in folk and in country music.
I'm always looking for ways to develop as a Jazz artist, to find different ways of using my voice.
My father is a massive, massive music fan. I grew up listening to rock, soul and jazz.
I always liked jazz. And my people liked the old blues, race records and the doo-wop and all that.
I like the idea of an eclectic approach, incorporating jazz with other forms and other genres of music.
My baby lives in shades of blue, blue eyes and jazz and attitude.
Jazz is like a telescope, and a lot of other music is like a microscope.
I am famous because I am an African American jazz artist.
Fitzgerald coined the phrase the 'Jazz Age,' and now we're living in the Hip-Hop Age.
When I discovered Mose Allison I felt I had discovered the missing link between jazz and blues
I've never been on a board, but I just went on the board for Jazz at Lincoln Center. I'm very happy about that.
One chord is fine. Two chords are pushing it. Three chords and you're into jazz.
The history of all big jazz bands shows was, first they played for dancing, and then they played for singing.
I don't worry too much about the fundamentalist principles that are in almost any discussion about jazz.
The thing to judge in any jazz artist is, does the man project and does he have ideas.
In jazz, as in poetry, there is always that play between what’s regular and what’s wild. That has always appealed to me.
You do [jazz] because you love it and hope many some others may as well. You do this because you need it.
I never liked blues and I really didn't like jazz. I liked Chuck Berry.
Player for player, there’s ?no better working band in jazz than The Cookers.
There are Two Secrets to Success: 1. Don't tell ANYONE Everything you know 2.If you have to ask what Jazz is, you'll never know.
I'm thrilled when I hear the greatest jazz musicians. They continue to search in ways other musicians do not.
Diana Krall knocks me out. I like jazz and I like her simple approach.
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