I am not a jazz singer. I wouldn't place myself on that footing. I wouldn't even enter that arena.
Miles Davis was doing something inherently African, something that has to do with all forms of American music, not just jazz.
My roots and Victor's are jazz, basically, but these two young fellows that we have with us come out of rock bands. And they're tremendously exciting players.
Lately I've been listening to some classical music again, some jazz.
I've always wanted to record a jazz record. I did one in the '70s with Barbara Carroll. It's been a journey.
Jazz was uplifted by what I did.
Seriously though, my father was the first African American to sign a contract with the Metropolitan Opera so I grew up with classical music and jazz in the home all the time.
My mother is a singer, still performs today; she's a jazz singer.
I just try to do as good job with the material as I can and play some jazz as well, some improvised music, and do that every night. Just see where it goes.
We always feel pretty creative as far as writing songs. We write them together; we just get in a room, or on occasion in Flea's garage. We just sort of improvise, like jazz musicians.
Jazz is not the popular culture. Jazz is in the same position in our culture as classical music. A very small minority of people really love it.
That's the exact concept behind the music: to take that kind of, I guess whatever you want to call it, jazz sensibility - but not have it be about solos.
I still play jazz, and I've always got that trumpet very handy, but I'm coming to feel the classical venues are where my main focus is, in the realm of symphonic pops.
After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.
I think the challenges for me was to go into the studio with these incredible jazz players and come up to their level of excellence. That's always a challenge.
Clifford Brown was in the jazz circles considered to be probably the greatest trumpet player who ever lived.
If you play jazz, then you play with your fingers. If you're playing rock, you use a pick. There's really no rhyme or reason to that other than that's just the way it has been.
I never liked blues music, and I really didn't like jazz. I liked Chuck Berry.
...people will go for anything they don't understand if it's got enough hype. They want to be hip, want always to be in on the new thing so they don't look unhip. White people are especially like that, particularly when a black person is doing something they don't understand...That's what I thought was happening when Ornette hit town.
I began to realize that some of the things Ornette Coleman had said about things being played three or fours ways, independently of each other, were true because Bach had also composed that way.
Trane was the perfect saxophonist for Monk's music because of the space that Monk always used. Trane could fill up all that space with all them chords and sounds he was playing then.
I tried practicing for a few weeks and ended up playing too fast.
Our basic audience begins with creaking elderly types of twenty-three and above.
I'd listened to [Ornette Coleman] all kinds of ways. I listened to him high and I listened to him cold sober. I even played with him. I think he's jiving baby.
I resolved to play my trumpet like a sax.
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