quote by Chuck Mangione

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.

— Chuck Mangione

Tremendous Jazz Records quotations

Jazz records quote I notice you're a nerd is like saying, 'hey, I notice that you'd rather be intel
I notice you're a nerd is like saying, 'hey, I notice that you'd rather be intelligent than be stupid, that you'd rather be thoughtful that vapid, that you believe that there are thing that matter more than the arrest record of Lindsay Lohan.

I think as long as people are around and can hear a record and hear people like Lester Young on a recording, there will always be a great inspiration for somebody to try to create jazz.

When you are studying jazz, the best thing to do is listen to records or listen to live music. It isn't as though you go to a teacher. You just listen as much as you can and absorb everything.

Jazz records quote Jazz is not a what, it is a how.
Jazz is not a what, it is a how.

I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!

I think all record companies should be run by a musician.

Just as you wouldn't trust your health to an electrician.


Jazz is the only music in which the same note can be played night after night but differently each time.

It seems all worlds of music - rock, blues, R&B, soul, hip-hop and others - are able to point to impromptu get-togethers as proud moments in their timelines, encounters that were recorded and created music of lasting impression. In the jazz tradition, there are a few, but none that has been revered for as long as Jazz at Massey Hall.

The whole point is, give me a break with the standards.

You go to the average jazz label and suggest a record and they want to know which standards you're going to play. I'm saying let's break the formula.

My dream is to do whatever I want without any interference from the record company.

Many fail to realize this great recording industry was built by so-called jazz artists. And at the other end of the spectrum, a base in European classical music as well.


There's so much around, you don't know what to listen to.

All I've got at home is Bo Diddley, some Stones and Beatles stuff, and old jazz records.

Jazz isn't like pop, where you sell millions of records with a hit.

Your spirit and soul aren't important in pop music. But jazz is like classical music. If people like you, they'll remember you and you'll last forever.

People think it is all about country music, and I know a lot of country music has come out of there, but like Blonde on Blonde by Bob Dillon was recorded there. A lot of great records; R&B records, jazz records. It's a lot of great players and great studios.

I think I had it in the back of my mind that I wanted to sound like a dry martini.

I took some lessons as a kid but trained myself by ear.

I did it the way jazz musicians used to learn years ago, which is to play records and slow them down to figure out the notes. At first I tried to imitate Red Garland, who was my favorite jazz pianist.


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.

So What or Kind of Blue were done in that era, the right hour, the right day.

It's over; it's on the record.

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.

I don't know if I have enough guts to do a whole standard jazz record.

In 1994, I started touring again and I recorded two albums for Chesky Jazz.


I started singing Folksongs with my mother when I was 6 years old.

We sang at Folk festivals and concerts and schools. There was always music being played either on record, Jazz and Folk, by musician friends of my mother. I took to singing very early, I believe it has been a Gift I was born with.

My father had played cornet, although I never saw him play it.

I found his mouthpiece when I was a kid. I used to buzz it. And my mother played piano and sang in the church choir for different functions. So there was always music in the house, jazz, gospel, or whatever. Especially jazz records.

For me personally - because I do it myself - the scoring of a picture is fun.

I edit the picture and when I've finished I go into my room and I have many many records - jazz, classical and popular music. And I have this all at my disposal. I don't have to get a composer.

I've always wanted to record a jazz record.

I did one in the '70s with Barbara Carroll. It's been a journey.

We all listened to a lot of recorded music, especially American jazz, modern jazz, and that's where our studies were and our inspiration came from.


I don't really have a career as a jazz musician.

I don't really have a career as a classical musician. I don't really have a career as a college professor, and yet I did all those things and I did them well. I put out some records in the 1980's and 1990's that changed the way some trumpet players played.

Jazz radio is not very friendly to pop singers who decide to make a jazz record.

But a lot of people have been. A lot of the people I've talked to like the record.

Trust me, the only real way to understand 'Chic' is in highfalutin terms.

Our chord progressions were based on European modal melodies. I made those early 'Chic' records to impress my jazz friends.

I started playing jazz by slowing down Tal Farlow records and analyzing his runs

I was a beginner again. I practiced hard and used to listen very closely to recordings of American jazz drummers such as Tony Williams and Kenny Clarke.


Columbia was a wonderful label for me.

Wonderful. The records I made there garnered me an audience. I won a number of polls during the years that I was at Columbia. The Downbeat Jazz Poll. Leonard Feather, who was a huge critic back in the day, different polls that he had. The Playboy poll, a number of polls. So the music was great.

To my ears, jazz sounds better in warm weather and after the sun has gone down.

While I will listen to some of my favorite jazz records in cooler weather, it's the warmer nights that really make them come alive. Something about those sounds and the heat of the night really makes it happen for me.

Once you start collecting records you learn more and more about jazz and blues.

It never gets boring for me because there's so many different things to explore in the studio. The studio's become the sanctuary that people have come in and found new things out about themselves, as weird as that sounds. But it's true, I'm no different. I've made some crazy hard records, and I've made a jazz album.

I was very lucky, because when I was at school, I had a great music teacher who would just take out these free-jazz records and play them for me. So it was in my early teens that I started to listen to jazz.