I tell my students, 'It's an important tradition and you have to go back and hear this music and learn its language all the way through. How are you going to know what's new to play, if you haven't listened to everything that's old?'
I have always been a person who is concerned with the dignity of jazz music and the way jazz musicians have been treated and are treated, and the fact that the music has not been given the kind of due that it deserves.
Trane was the father. Pharoah was the son. I was the holy ghost.
If someone has been escaping reality, I don't expect him to dig my music.
Jazz music is America's past and its potential, summed up and sanctified and accessible to anybody who learns to listen to, feel, and understand it. The music can connect us to our earlier selves and to our better selves-to-come. It can remind us of where we fit on the time line of human achievement, an ultimate value of art.
A goal is a dream with a finish line.
Jazz isn't dead. It just smells funny.
Playing 'bop' is like playing Scrabble with all the vowels missing.
People sometimes forget that jazz was built not only in the minds of the great ones but on the backs of the ordinary ones — ordinary musicians.
...to me if it's anything, jazz is a verb-it's more like a process than it is a thing.
After silence, that which comes nearest to expressing the inexpressible is music.
Do not fear mistakes. There are none.
Talking about music is like dancing about architecture.
When I die, I want them to play The Black and Crazy Blues, I want to be cremated, put in a bag of pot and I want beautiful people to smoke me and hope they got something out of it.
At this time the fashion is to bring something to jazz that I reject. They speak of freedom. But one has no right, under pretext of freeing yourself, to be illogical and incoherent by getting rid of structure and simply piling a lot of notes one on top of the other. There's no beat anymore. You can't keep time with your foot. I believe that what is happening to jazz with people like Ornette Coleman, for instance, is bad. There's a new idea that consists in destroying everything and find what's shocking and unexpected; whereas jazz must first of all tell a story that anyone can understand.
Eclecticism is the word. Like a jazz musician who creates his own style out of the styles around him, I play by ear.
You can't play anything on a horn that Louis Armstrong hasn't played
Music is my religion. Music is the only thing that has never failed me. People let you down, music won't.
Sometimes I wish I could walk up to my music as if for the first time, as if I had never heard it before. Being so inescapably a part of it, I'll never know what the listener gets, what the listener feels, and that's too bad.
One very important thing I learned from Monk was his complete dedication to music. That was his reason for being alive. Nothing else mattered except music, really.
They tell me Wagner's music is better than it sounds.
In Europe, they like everything you do. The mistakes and everything. That's a little bit too much.
Boxing is like jazz. The better it is, the less people appreciate it.
Conductors must give unmistakable and suggestive signals to the orchestra, not choreography to the audience.
I say, play your own way. Don't play what the public want - you play what you want and let the public pick up on what you doing - even if it does take them fifteen, twenty years.
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