If you want to play somebody's music, you'd better go into his house.
If you keep your head in the sand, you don't know where the kick's coming from.
Jazz is so incestuous that it's starting to kill itself.
My job is to write songs that have emotional meaning to me.
So much of Jazz doesn't have an audience other than music students or musicians.
Pop doesn't really look back. It can't. What makes pop work is simplicity.
You don't know what you like, you like what you know. In order to know what you like, you have to know everything.
A beat is a moment in the life a groove.
I started playing jazz by slowing down Tal Farlow records and analyzing his runs
Whenever you study composition you inevitably encounter Bach right off the bat. You can't get across the room without running into him and the other greats. Analyzing Bach absolutely influenced my jazz playing.
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!
Back in the day in my teens I was listening to Joe Pass and Wes Montgomery a lot; before that I was listening to what I would call now the more 'simple' jazz players (but still very valid), like Barney Kessell or Johnny Smith; I learnt a lot of voicings from Johnny Smith records. Now, I listen to the old blues players; that's what you'd hear in my house if there was music on. It would be Albert Collins or Albert King.
And what happened was, it's the same thing an older, more successful writer of ficition might say to a student: write about what you know. And what I knew - of course I knew jazz, but I also knew country, blues and some rock and roll. And that came out.
For me, jazz, R&B, jump swing, Chicago blues, country blues, early hillbilly music, and honky tonk all stem from the same source
Barney Kessel was 'Mr. Guitar,' the foremost jazz guitarist of his generation. He had an amazing imagination, his solos were incredible, he swung his tail off, he was a heck of an arranger and could out-read anybody.
If a jazz player is really playing, the classical player will have to respect him.
My faith is the grand drama of my life. I'm a believer, so I sing words of God to those who have no faith. I give bird songs to those who dwell in cities and have never heard them, make rhythms for those who know only military marches or jazz, and paint colors for those who see none.
Since about 1980 Kenny Werner has been one of jazz’s unsung heroes
I always challenge myself. I get out in deep water and I always try to get back. But I get hung up. The audience never knows, but that's when I smile the most, when I show the most ivory.
I always thought jazz was like the trunk of a tree. After the tree has grown, many branches have spread out. They're all with different leaves and they all look beautiful. But at the end of the season, they fold back up and it's still the tree trunk.
A young tenor player was complaining to me that Coleman Hawkins made him nervous. Man, I told him Hawkins was supposed to make him nervous! Hawkins has been making other sax players nervous for forty years!
There's no future without the past and anybody who doesn't really understand where jazz has come from has no right to try to direct where it's going.
I was never interested in singing in the church or school. I was more interested in becoming a musician.
You learn from music, from watching great athletes at work - how disciplined they are, how they move. You learn these things by watching a shortstop at work, how he concentrates on one thing at a time. You learn from classic music, from the blues and jazz, from bluegrass. From all this, you learn how to sustain a great line without bringing in unnecessary words.
Ever since I was a kid, I've been into clothes, but not really labels- that's kind of only been in the last year or so. It's something I've always cared about. I used to just constantly thrift and make stuff and cut stuff up and borrow my dad's stuff and borrow my little brother's stuff and all that jazz. ... It's just, if something is cool, then it's cool.
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