A jazz musician is a juggler who uses harmonies instead of oranges.
Here, in this quiet place we own, worlds are born. ~Run the Voodoo Down~
All is as if the world did cease to exist. The city's monuments go unseen, its past unheard, and its culture slowly fading in the dismal sea.
Amy [Winehouse] changed pop music forever, I remember knowing there was hope, and feeling not alone because of her. She lived jazz, she lived the blues.
I'm very much aware in the writing of dialogue, or even in the narrative too, of a rhythm. There has to be a rhythm with it … Interviewers have said, you like jazz, don’t you? Because we can hear it in your writing. And I thought that was a compliment.
Now listen for your song. Everybody’s got a song. When I used to chase the Trane— John Coltrane that is— he used to tell me, ‘If I know a man’s sound, I know the man.’ Do you hear the melody playing in your mind? Does it move you, nudge you off your seat?
Jazz doesn't have much to do with how I write songs, but I am a big fan. My favorites are Oscar Peterson, Ahmad Jamal, and Mose Allison.
The blues. It runs through all American music. Somebody bending the note. The other is the two-beat groove. It's in New Orleans music, it's in jazz, it's in country music, it's in gospel.
I listen to this mix of smooth jazz, independent hip-hop, chiptunes, and anime music.
I wasn't a jazz player, but a classical musician, and I improvised arrangements of popular songs using classical motifs.
Artie Shaw was way ahead of most clarinetists and most jazz players.
If you have to ask what jazz is, you'll never know.
'Amores Perros' is rock, '21 Grams' is jazz, 'Babel' is an opera, and 'Biutiful' is a requiem.
That's the beauty of music. You can take a theme from a Bach sacred chorale and improvise. It doesn't make any difference where the theme comes from; the treatment of it can be jazz.
I first met Miles Davis about 1947 and played a few jobs with him and Sonny Rollins at the Audubon Ballroom in Manhattan. During this period, he was coming into his own, and I could see him extending the boundaries of jazz even further.
I was first introduced to dancing through the TV: I remember watching ballet, jazz and ballroom dancing when I was very little. But I felt no connection with it whatsoever: it was just like watching a Tom and Jerry cartoon.
In the Bay Area, there was a resurgence of Dixieland jazz in the '40s - there was the Frisco Jazz Band, and Lu Watters and the Yerba Buena Jazz Band.
When the great jazz and blues clubs closed - joints where the cash register rang loudly and there wasn't ESPN on TV over the bandstand, and people smoked cigarettes and drank whiskey and hollered 'Play on!' - When those places closed, I was pretty much done.
I was listening to a lot of bebop. And to Miles Davis. Everyone thinks I was just in the folk world in 1966, but in 1963 and 1964, I was absorbing enormous amounts of music, from baroque to jazz to blues to Indian music.
What I'm doing, I prefer to call that jazz, because it is a beautiful word - I love it.