Composing is improvisation slowed down.
Jazz music by its very nature is just a conglomerate of a lot of different kinds of music.
I have always loved jazz music and as a teen growing up in New York City and then later on as an adult have great memories of the jazz clubs that were all located on 52nd Street. I still catch as many jazz shows as I can when I am in New York. And when I perform, I have my jazz quartet by my side. Jazz musicians keep things spontaneous and very "live," which is the way I like to perform.
It is jazz music that called me to be a musician and I have always sang the songs that moved me the most.
I love jazz music and sad music. I'm a sentimental guy. I'm a romantic guy.
[Lee Morgan] was the only young cat that scared me when he played. He had so much fire and natural feeling. I had more technique, but he had that feeling. People seemed to like him more than they like me at the beginning.
I finally realized that my relaxation is practicing the piano and writing. I've tried to do other things, but I've learned through the decades, that this is what I enjoy, practicing music and writing.
The whole basis of my singing is feeling. Unless I feel something, I can't sing.
Jazz musicians have some outlaw in them somewhere.
The reward for playing jazz is playing jazz.
Jazz: Music invented for the torture of imbeciles.
I think the whole question of meaning in music is difficult enough even if you hear me playing live right now in the same room! What I mean and what you take from it may be two quite different things anyway.
Don't make the mistakes I made of not taking care of myself. Please, keeps your chops cool and don't overblow. If you are going to play hard, be sure to warm up. I'd get carried away trying to stay right with the momentum [of Art Blakey and the Jazz Messengers]. I used to try and play like Coltrane and solo for 30 or 40 choruses. It all caught up with me.
The thing is this: When I play, what I try to do is to reach my subconscious level. I don't want to overtly think about anything, because you can't think and play at the same time - believe me, I've tried it (laughs).
Many jazz artists go to L.A. seeking a more comfortable life and then they really stop playing.
The first jazz musician was a trumpeter, Buddy Bolden, and the last will be a trumpeter, the archangel Gabriel.
People who love jazz musicians love us when we play what we want to play and we're starving. But as soon as you commercialize your sound like Wes Montgomery did, the jazz fans and the critics are down on you!
I've been around jazz and jazz musicians most of my life.
I can play, and I know it; I'm not looking for any pats on the back. I don't have to be endorsed by anybody. I make enough to live and eat, and I'm happy with my music-and that's all I need.
Jazz musicians like John Coltrane needed these very clear titles for their abstract music, and your decision to bring voices into your music as a way to tap into content. It's related to the way my text-based work still functions as abstraction for me. If I repeat a sentence down a canvas, the text starts to smudge and disappear. It essentially becomes an abstract piece. The meaning of the text is still there.
Miles got a mystique about him-plus he's at the top of his profession. And he's got way, way, way more money.
What I'm doing, I prefer to call that jazz, because it is a beautiful word - I love it.
I like to hear melodies that go from one extreme to the next- saxophone to a bell to a whistle, for instance.
If you listen to nature, all the sounds are done in a confident way. I'm trying to do that.
You have to know composition to be a good improviser.
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