quote by Mose Allison

I went through the whole number, you know. The swing era, the boogie woogie era, the bebop era. Thelonious Monk is still one of my favorites. So a lot of these people had their effect on me.

— Mose Allison

Memorable Bebop quotations

What makes bebop legitimate is the fact that when it was done, it was illegitimate.

Meaningful Bebop quotes
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Most of what I listen to now is mainstream jazz from 1935 right up to and including early bebop and cool jazz.

I still prefer the bebop of the '40s.

The very stuff I started out with is still the best to me. I have come full circle.

Bebop didn't have the humanity of Duke Ellington.

It didn't even have that recognizable thing. Bird and Diz were great, fantastic, challenging — but they weren't sweet.


[On bebop years] All I did was sing 'How High the Moon.' It seemed like the only song I ever sang.

I was reading Omar Khayyam, Kahlil Gibran, Rumi, L.

Ron Hubbard, all sorts of philosophy. Bebop cats are like that. Curious. I wanted to know about everything.

You don't see the European classical musicians allowing the music of Bach, Brahms, or Beethoven to become extinct. That music has gone on for centuries and centuries. We have the same obligation. Why do we have to become so 'hip' that we can say, 'Bebop is square,' or "New Orleans is square'? This, to me, is a shame.

[Bebop is] Chinese music.

Bebop is the music of the future (as soon as they learn how to play it).


Everything has a beginning and an end.

Life is just a cycle of starts and stops. There are ends we don't desire, but they're inevitable, we have to face them. It's what being human is all about.

Musically, the bebop route was magnificent, but businesswise, it was the dumbest thing I ever did.

If you have a counterculture band, you put a name on it, you call them beatniks, and you can sell something - books or bebop. Or you label them as hippies and you can sell tie-dyed T-shirts.

Bebop has set music back twenty years.

Basically my influences have been American influences.

It's been blues, gospel, swing era music, bebop music, Broadway show music, classical music.


Man always thinks about the past before he dies, as if he were frantically searching for proof that he truly lived.

Bebop was like humming along to Mitch Miller to me.

My first love in music was jazz, but I like it all," "I reacted emotionally to Art Blakey and, of course, to Joe Pass and Wes Montgomery. I was all of 16 when I had my first guitar lesson with Joe. But I never focused on being a bebop player. I loved the harmony, rhythm and phrasing, but I wanted to apply them to my own concept and sound.

I can take any series of numbers and turn it into music, from Bach to bebop, Herbie Hancock to hip-hop.

Man always thinks about the past before he dies.


They said Bird played bebop, but Bird could still swing.

I've heard a lot of guys play bebop, but they wasn't swinging.

Oh yeah, that was the thing to do at that time. This was before the new wave of bebop started.

We may play in a contemporary rock vein, use standard bebop themes, and many other things besides.

Nobody knows where jazz is going, because nobody has ever known where jazz was going. I mean, you couldn't possibly predict the Swing Era from the '20's or bebop from the Swing Era or Avant-garde from Bebop, or Effusion, or on and on and on. So, we don't really know where it's going.

In those days before hearing Charlie Parker and Dizzy, and before learning of the so-called bebop era--by the way, I have some thoughts about that word, "bebop"--my first jazz hero ever, jazz improvisor hero, was Lester Young. I was a big "Lester Young-oholic," and all of my buddies were Lester Young-oholics. We'd get together and dissect, analyze, discuss, and listen to Lester Young's solos for hours and hours and hours. He was our god.


Many photographers are apt to confuse color with noise, and to congratulate themselves when they have almost blown you down with screeching hues alone-a bebop of electric blues, furious reds, and poison greens.

All the forms of popular music from jazz to hip-hop, to bebop, to soul [come from black innovation]. You talk about different dances from the catwalk, to the jitterbug, to the Charleston, to break dancing -\-\ all these are forms of black dancing...What would [life] be without a song, without a dance, and joy and laughter, and music.

I can't imagine my life without the extraordinary bebop jazz revolution in New York in late '40s and '50s.

I have pretty ecumenical tastes. I'm interested in a lot of different kinds of music, so I don't listen with a jaundiced ear to music because it's in a certain category, whether it's country or opera or hip-hop or bebop or whatever it is.

From folk to tribal to Cab Calloway, Cole Porter, Gershwin to the Rolling Stones, whose first record was all covers, to country-western, bebop, blues, and even the referencing in classic hip hop to cliched love ballads of the '80s or whatever - that is kinda gone, and that's just terrifying to me.


Basically my influences have been American influences.

It's been blues, gospel, swing era music, bebop music, Broadway show music, classical music. It's like making a stew. You put all these various ingredients in it. You season it with this. You put that in it. You put the other in it. You mix it all up and it comes out something neat, something that you created.