If I don’t practice for a day, I know it. If I don’t practice for two days, the critics know it. And if I don’t practice for three days, the public knows it.— Louis Armstrong
Famous Jazz Band quotations
In Europe they look upon jazz as art.
In America it's a diversion. Somebody opens a restaurant and installs another band off to the side. People don't listen.
My brother had a big band in high school;
after that we continued to play together, eventually forming a group called the Jazz Brothers, that recorded for Riverside Records.
I suppose subconsciously I was thinking in terms of having the scale of it matching the scale of the images. Hence the sort of string quartet, jazz band and electronic stuff.
A band ought to have a sound all of its own. It ought to have a personality.
I was in every band class I could get in, like after school jazz band and marching band, and that's where I really learned to read music from elementary all the way through junior high and high school.
I used to sing with my father's jazz band and then when I was ten years old a musician friend of his suggested that I try out for the first west coast production of Annie.
Communication is the essential medium of a creative culture: the communal sea in which we all swim. A company that can't communicate is like a jazz band without instruments: Music just isn't going to happen.
I wonder what an agent would do if he had to travel with the band he's booking.
You know somethin', man? Some day I'm gonna be walkin' up the street one way and you're gonna be comin' down the other way, and we're gonna pass each other and I'm gonna say 'Hello, best white band in the world' and you're gonna say 'Hello, best colored band in the world.
Don't Let Me Be Misunderstood," a song that was written for Simone, she confronted the band's lead singer, Eric Burdon. "So you're the honky," she said, "who stole my song and got a hit out of it?
I haven't got a great jazz band and I don't want one.
Some of the critics, Down Beat's among them, point their fingers at us and charge us with forsaking real jazz . . . It's all in what you define as 'real jazz.' It happens that to our ears harmony comes first. A dozen colored bands have a better beat than mine. Our band stresses harmony.
[On John Tunnard:] One day a marvelous man in a highly elaborate tweed coat walked into the gallery. He looked a little like Groucho Marx. He was as animated as a jazz-band leader, which he turned out to be. He showed us his gouaches, which were as musical as Kandinsky's, as delicate as Klee's, and as gay as Miró's.
Shared leadership... is less like a an orchestra, where the conductor is always in charge, and more like a jazz band, where leadership is passed around ... depending on what the music demands at the moment and who feels most moved by the spirit to express the music.
You can not ignore his current life. Bowie has become a family man and enjoys to see his children grow up close to him. But after six years he feels the urge to get in the studio with musicans he likes. He closely follows bands like Arcade Fire in recent months. But he is inspired by ancient Chinese folk and jazz these days as well.
It's just music. It's trying to play clean and looking for the pretty notes. The beat in a bop band is with the music, against it, behind it. It pushes it. It helps it. Help is the big thing. It has no continuity of beat, no steady chug-chug. Jazz has, and that's why bop is more flexible.
Most of the stuff I learned to play, I learned in high school.
I had a band in high school, a jazz-fusion thing, and I was the keyboard player. I was interested in how the instruments worked and the theory behind playing with them.
It's true I've always been attracted to the jazz band in an orchestral way, rather than a band way.
I joined Count Basie's band to make a little money and to see the world.
For two years I didn't see anything but the inside of a Blue Goose bus, and I never got to send home a quarter.
My father was a jazz tenor sax player.
He played in a lot of big bands. So I had that sound around me all the time. The first record that really caught my ear was Clifford Brown's 'Brownie Eyes.' I grew up listening to John Coltrane and Illinois Jacquet. This is where I come from... I love improvisational music.
It is veneer, rouge, aestheticism, art museums, new theaters, etc.
that make America impotent. The good things are football, kindness, and jazz bands.
Benny Goodman's band was integrated before baseball.
Even before it was physically integrated, music was integrated. Everyone listened to Armstrong and Ellington. The 20s was called the Jazz Age. It's part of being American.
I was really running a music school back then, because my band wasn't making any money. I keep talking about money, because most people don't understand the part of money in running a band.
The E Street band casts a pretty wide net.
Our influences go all the way back to the early primitive garage music, and also, we've had everything in the band from jazz players to Kansas City trumpet players to Nils Lofgren, one of the great rock guitarists in the world.
I spent five years, at least, working with Miles.
Together, we recorded ESP, Nefertiti, Sorcerer -- and I can tell you; each of these albums instantly became jazz classics. Hey, we had Wayne Shorter playing tenor sax, Ron [Carter] on bass, Tony Williams played drums. That was great band we had.
There are so many parts of music that it's actually a pleasure for me to work with an orchestra, or a jazz band, or a choir, and use every element that the musical tool box can offer. The world of music I love so much, and I can change the costume depending on the part, and I'm actually in the film.
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.
I played Big Band jazz music. I wasn't into rock and roll. I was just there because it was a living. I surprised everyone. I'm still surprising people.
I was in punk rock bands, heavy metal bands, world music bands, jazz groups, any type of music that would take me. I just love music.
I used to hang out a lot in jazz clubs, and the groups took to a kid like me who wasn't afraid to get up and sing with a jazz band. Then I started to hang out in rock clubs and learned to carry off different styles.
I'd actually been making my living as an organist with bands since I was probably 15 or 16 years old, and then as a senior in high school I put together a jazz quintet called The Bobby Mack Jazz Quintet.
The jazz band's chief stimulus, of course, was the rise of the negro 'blues' and their exploitation by the negro song-writer, W. C. Handy.
If anybody was Mr. Jazz it was Louis Armstrong. He was the epitome of jazz and always will be. He is what I call an American standard, an American original.
My brother Leon started it all. He played the piano. In school they made me leader of the orchestra because I played the violin, but I followed Leon and the boys in his jazz band around.
The history of all big jazz bands shows was, first they played for dancing, and then they played for singing.