Top 1200 Lester Young Quotes & Sayings

In this country kings or dukes don't amount to nothing. The greatest man around then was Franklin D. Roosevelt, and he was the President; so I started calling Lester the President. It got shortened to Pres.

I still credit Adrian Lester with being one of my biggest influences.

I think as long as people are around and can hear a record and hear people like Lester Young on a recording, there will always be a great inspiration for somebody to try to create jazz.

Walking into the Ryman with Lester Flatt was the equivalent of walking into the Vatican with the pope.

The Lester B. Pearson era is what I hope to replicate.

Lester is the Rock of Gibraltar. Nothing can rattle him. I am not. I was always flying off the handle about things. And the one person who could calm me down and make me realize that none of this silliness mattered was Lester Holt.

My first film crush was Mark Lester as Oliver Twist in the Carol Reed film.

Journalism is my first love. But music comes in a close second. What's important for me is that whatever you do, whatever your passion is, you should have another passion - something in your life. And when I put on that musician hat and I put the bass in my hands, I'm not Lester Holt the TV guy anymore. I'm just Lester Holt who likes music.

I have to write what I can write, and writing the text of a picture book is like walking a tightrope, if you ramble off... As my friend Julius Lester says, 'A picture book is the essence of an experience.'

I read quite a few complaints last night about Lester Holt’s choice of debate topics. Liberals wanted to know why climate change didn’t come up. Conservatives thought there should have been a question about abortion.

I used to live at the Cecil Hotel, which was next door to Minton's [Playhouse]. We used to jam just about every night when we were off. Lester [Young], Don Byas and myself - we would meet there all the time and like, exchange ideas. It wasn't a battle, or anything. We were all friends. Most of the guys around then knew where I lived. If someone came in Minton's and started to play - well, they'd give me a ring, or come up and call me down. Either I'd take my horn down, or I'd go down and listen. Those were good days. Had a lot of fun then.

I've been listening to jazzmen, especially saxophonists, since the time of the early Count Basie records, which featured Lester Young. Pres was my first real influence, but the first horn I got was an alto, not a tenor.

At least Lester had the decency to weep at his act of perfidy. Reader, do you know what 'perfidy' means? I have a feeling you do, based on the scene that unfolded here. But you should look up the word in your dictionary, just to be sure.

I'm at a weird spot because I look so young and I feel young, but I'm not young.

I have to write what I can write, and writing the text of a picture book is like walking a tightrope, if you ramble off... As my friend Julius Lester says, A picture book is the essence of an experience.

I, myself, came to enjoy the players who didn't only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around.

We knew that the referee [in primary debates] is on the side of the Democrats because the referee, whoever the referee is, is a Democrat first and a so-called journalist second. I mean, we know that Lester Holt did not challenge Hillary [Clinton].

The younger generation forms a country of its own. It has no geographical boundaries. I've talked with young Hungarians in Budapest, with young Italians in Rome, with young Frenchmen in Paris, and with young people all over. ... These young people are going to do things. They are going to change things.

There's a young man hid with me, in comparison with which young man I am a Angel. That young man hears the words I speak. That young man has a secret way pecooliar to himself, of getting at a boy, and at his heart, and at his liver.

As much as I think John Coltrane belongs on the list, I think without Coleman Hawkins and Lester Young, both of whom defined improvising on the tenor sax, there would not have been the evolution of the craft by John Coltrane.

Sydney Poitier, who said to Lester Maddox, Guess who's not coming to dinner? Never got a dinner!

Have you told Eric and the rest of them that—” “That I’m a vampire? No. It isn’t the sort of thing you just drop into casual conversation.” “Maybe not, but they’re your friends. They should know. And besides, they’ll just think it makes you more of a rock god, like that vampire Lester.” “Lestat,” Simon said. “That would be the vampire Lestat. And he’s fictional.

When I was 16 or 17 I heard the Count Basie band with Jo Jones and Lester Young and Herschel Evans and I couldn't believe it. They were the greatest swing band. I really fell in love with that sound. Everybody danced!

In some ways Lester Young is the most complex rhythmically of any musician. He does some things which are just phenomenal.

I grew up with all these old jazz guys in the '70s in L.A., and they grew up idolizing Charlie Parker, Charles Mingus, Lester Young - all of these incredible musicians.

Charlie Parker was a genius, as was Lester Young.

Lester Germer was my first supervisor at Bell Labs. He was the Germer of the Davisson and Germer Experiment that is sometimes referred to in introductory texts on physics.

I listened to classical music. I listened to jazz. I listened to everything. And I started becoming interested in the sounds of jazz. And I went to a concert of Jazz at the Philharmonic when we lived in Omaha, Nebraska, and I saw Charlie Parker play and Billie Holiday sing and Lester Young play, and that did it. I said, 'That's what I want to do.'

I have learned as much about writing about my people by listening to blues and jazz and spirituals as I have from reading novels. The understatements in the tenor saxophone of Lester Young, the crystal, haunting, forever searching sounds of John Coltrane, and the softness and violence of Count Basie's big band - all have fired my imagination as much as anything in literature.

Some are bound to die young. By dying young a person stays young in people's memory. If he burns brightly before he dies, his brightness shines for all time.

It has long been a source of wonder to me why the leading criminological writers--men like Edmund Lester Pearson, H. B. Irving, Filson Young, Canon Brookes, William Bolitho, and Harold Eaton--have not devoted more space to the Greene tragedy; for here, surely, is one of the outstanding murder mysteries of modern times--a case practically unique in the annals of latter-day crime.

The only two jobs I ever had were with Lester Flatt and Johnny Cash.

I learned things by being in Lester Flatts' band, and I learned things by playing with Johnny Cash, and I learned from Pop Staples. I'm a sponge.

When I look back over my career, having an opportunity to compete against really good players like Lester Hayes are some of the highlights.

From the first time I played with Lester Flatt, I sensed an extreme amount of history around me.

My thing is you just have to try to feel young and stay young. Obviously you get a little older, but I still want my music to be young. I don't want to sound like an old dad onstage, so you just have to write music that sounds young.

Nobody in my school knew who Bill Monroe was, or Lester Flatt and Earl Scruggs, and barely Johnny Cash. Nobody spoke that language. I proceeded to get myself kicked out.

I started performing in 1950 at the age of 16 when I joined the Burton Lester's Midgets as a performer. Shortly after, I became a DJ with Mecca Organization before joining Billy Smart's Circus as a clown and shadow Ringmaster.

Passion is a young man's game. Young people can be passionate. Older people gotta be more wise. I mean, you're around awhile, you leave certain things to the young. Don't try to act like you're young. You could really hurt yourself.

We have about 4 million people who have voted for who they want to see in the Hall of Fame. There are some people they put down that are pretty good players. You have Ray Guy, Jim Plunkett, Lester Hayes and Donnie Shell.

You love young ones and babes, I know this. The young will always befriend and admire you...all the young ones of the earth belong to you in friendship. Be good to them. —Breeze, to Sunflash the Mace

I am fond of depicting the lives of young folks for one thing, and if you have parts for girls or young men, you must absolutely have young people to fill them - that is generally acknowledged now.

Scarlett tells Mammy: "I'm too young to be a widow." She weeps to her mother: "My life is over. Nothing will ever happen to me anymore." Her mother comforts her: "It's only natural to want to look young and be young when you are young."

I know I had my equivalents in Adrian Lester and Lenny James when I was at drama school. I remember David Harewood doing 'Othello' at the National, and Adrian Lester having done Cheek by Jowl's famous 'As You Like It and Company' at the Donmar. Not necessarily performances I saw, but just the fact they happened was massively encouraging.

We were all influenced by Lester [Young]. Listen to the records that he made with [Count] Basie. Nobody's got what he's got. He's still the daddy.

Probably having fallen in love with music and movies at a young age and then first learning about writing by kind of following the path of writers like Dave Marsh and Lester Bangs and being a rock journalist.

When Lester plays, he almost seems to be singing; one can almost hear the words.

'Hustle' is wonderfully enjoyable because all my life, I've made an effort to be with people who can make me laugh. That original cast - Marc Warren, Jaime Murray, Robert Glenister and Adrian Lester - are all funny. So I know every day I'll have a few good laughs.

I am not and will never again be a young writer, a young homeowner, a young teacher. I was never a young wife. The only thing I could do now for which my youth would be a truly notable feature would be to die. If I died now, I'd die young. Everything else, I'm doing middle-aged.

I'd been studying the microphone for a dozen years, and I suddenly saw what I'd been doing wrong. I'd been singing too loud. One night I was listening to a record by Lester Young, the horn player, and it came to me. Relax, just relax. It's all going to be all right.

Young men can be impetuous, young men can be rush, young men can be fools, but the Car'a'carn cannot let himself be a young man.

Everyone knows I'm black. I am who I am. This is the person that Lester Sr. and June Holt raised, and I make no apology for it. At the same time, I'm never going to pull a race card to get what I want. You can't have it both ways.

Richard Lester is a wonderful director, a great comedy director, of course.

The amazing thing about Sweets [Edison] was that he exactly spoke the way that he played! He was really unique, the one and only. He was one of the greatest Blues players that I ever heard and played with. Nobody can play like Sweets man, nobody! Most of us, musicians, frequently quote Sweets' phrases in our solos. Like Lester Young, Sweets had a big influence on us musicians, especially when we play some Blues.

I was a member of the young liberals, the young conservatives, and young Labour, according to who gave the best parties.

In those days before hearing Charlie Parker and Dizzy, and before learning of the so-called bebop era--by the way, I have some thoughts about that word, "bebop"--my first jazz hero ever, jazz improvisor hero, was Lester Young. I was a big "Lester Young-oholic," and all of my buddies were Lester Young-oholics. We'd get together and dissect, analyze, discuss, and listen to Lester Young's solos for hours and hours and hours. He was our god.

From watching Lester (Flatt), I learned that it's important to be loyal to the people who made you and bought your music. He called me up to the front of the (tour) bus on the very first trip I went on with him. Lester pointed out two elderly people who were walking towards the but. He said, 'Those two people have been coming to see me since the mid 40's. That's what a country fan is all about.'

The film argues to the young that the old were young once, too, and contain within them all that the young know, and more.

I'll always remember when I first heard Lester [Young]. I'd never heard anyone like him before. He was a stylist with a different sound. A sound I'd never heard before or since. To be honest with you, I didn't much like it at first.

I built up a knowledge of 1960s and '70s British films because my dad used to work nights, and I'd sit up with my mum and watch films - 'How I Won the War' and the films of Richard Lester, Karel Reisz and John Schlesinger.