Musicians From The United States

"Wayne Shorter, who turns eighty this month, and Sonny Rollins are two of the finest saxophonists living today."

"While Lester Young might have had a warm tone, Stan Getz's was even more relaxed and wispy, especially on the jazz-bossa nova albums he did with Brazilian pianist Antonio Carlos Jobim and singer and guitarist Joao Gilberto, including the 1963 album Getz/Gilberto, which included "The Girl From Ipanema." Sure, Getz's tone was perfectly suited for bossa nova, but the tenor player could also work his around bop tunes. His playing is especially gorgeous and fluid on Focus, which included string arrangements by arranger Eddie Sauter."

"With his instantly recognizable biting and clear tone, tenor player Sonny Rollins, who turns 83 in September, is regarded by some as the greatest living saxophonist today. Inspired by Lester Young and Coleman Hawkins, Rollins had an ability to rarely repeat himself when improvising, even during lengthy solos. He was just in his mid-twenties when Saxophone Colossus was released, and the title of the disc was more than fitting. Rollins was already a titan of the tenor evidenced by cuts like "St. Thomas," one of his most well known compositions."

"Ron Carter has played on over 2,500 albums and secured a spot in jazz history as one of the world's finest bassists. Doing much more than merely helping anchor the rhythm, Carter is a melodic master. In his five-decade-long career, he's played with countless jazz legends, including a five-year stint in Miles Davis's quintet, an outfit that also included Herbie Hancock, Wayne Shorter and Tony Williams. While his playing on most of the recordings he did with Davis are stellar, some of his albums as a leader, like Uptown Conversation, are excellent, as are his duo albums with guitarist Jim Hall, platters like Live at the Village West and Alone Together."

"Just 25 when he died in a car accident in 1961, Scott LaFaro showed an early proficiency on the bass after taking it up at the age of 18, just before starting at Ithaca College. A weeks into his sophomore year, LaFaro hit the road with Buddy Morrow, but left the band in Los Angeles, and then went on to play with Chet Baker, Stan Kenton, Cal Tjader and Ornette Coleman. LaFaro is probably best known for his work with the Bill Evans Trio over the last few years of the bassist's life. His playing on Evans's Sunday at the Village Vanguard and Waltz for Debby is just remarkable."

"An integral part of Ornette Coleman's early groups, Charlie Haden played an important role in the development of free jazz, while also being an extremely competent and intuitive player. While his playing and writing with the large ensemble Liberation Music Orchestra, as well as his output with Keith Jarrett's group is stellar, his duo recordings are great, as well, namely Beyond the Missouri Sky with guitarist Pat Metheny and Nightfall with pianist John Taylor."

"Art Farmer’s approach to jazz seemed simplicity itself. ‘What I try to do with a song,’ the trumpeter once said, ‘is to get as much enjoyment out of playing it as I can.’ Yet his style expressed a quiet profundity and originality that defied the obvious. Although, born in 1928, he was a member of the bebop generation, he eschewed obvious pyrotechnics. A Farmer solo didn’t merely ‘run the changes’, ripping through the chords, but created an absorbing, probing shape, at once subtle and lyrical. In terms of facility, he could do anything he wanted, and his technical command and thoughtful musicianship ensured first-call status in the booming jazz scene of the 1950s. After apprenticeship with Lionel Hampton and other big bands, Farmer starred with two of the most prominent small groups of the time – Horace Silver’s hard-driving quintet, and the cool quartet of Gerry Mulligan. At the same time, he was leading his own groups in a series of widely praised albums. One of the best is the eponymous Art, with a quartet including the trumpeter’s kindred spirit, pianist Tommy Flanagan. Effortlessly compelling, it’s a classic example of Farmer’s special gift for reinventing standard tunes. ‘Younger than Springtime’ becomes a kind of idyll, his tone both round and clear. ‘Who Cares’ shows his fiery side, full of unexpected angles, and ‘I’m a Fool to Want You’ is a reflective ballad, but not morose."

"In the autumn of 1945, the hottest thing in New York was an ancient black trumpet player who, just three years before, had lacked both an instrument and teeth. What Willie ‘Bunk’ Johnson did possess, however, was historic, even mythic charisma. He’d been present in New Orleans at the very dawn of jazz, and played with Buddy Bolden, the fabled cornettist who’d virtually invented the music. And now here he was, freshly equipped with dentures and horn, a living icon pouring out authentic blues and rags with a company of similarly venerable New Orleanians. Audiences weary of the noisy regimentation of swing and the edgy complexity of bop were entranced by the throbbing warmth of ‘real jazz’, as if they’d been transported to the halcyon days of Basin Street. Unfortunately, Bunk’s moment in the sun was short-lived. Though a wily, urbane character, adept at charming his patrons and the media, he was also wilful and fond of a drink. Rather contemptuous of the band that had been assembled for him, he couldn’t be relied on to perform at his best or even turn up. Within a year, critics lamented that ‘the name Bunk Johnson (had) lost its magic and its meaning’, and he returned to Louisiana, where he died in 1949. All the same, his brief acclaim made Johnson the figurehead for a worldwide boom in the popularity of traditional jazz which continued after his death: Johnson sidemen such as clarinettist George Lewis forged international careers, and made New Orleans a tourist mecca. But Johnson remains controversial, revered by many as a unique musician, dismissed by others as a has-been who was second-rate in his prime. And yet the Johnson records still cast their spell – the singular vitality of New Orleans, pulsating and human, with a communal rhythm that’s more important than individual virtuosity."

"I have observed that, in jazz, all roads lead back to Louis Armstrong. But Louis’s road began with the man he honoured as his inspiration, idol and mentor, Joe ‘King’ Oliver. During World War I, Oliver was the cornet king of New Orleans, and in 1919 he went north to Chicago, where he won similar renown with his Creole Jazz Band, dazzling dancers, listeners and musicians with the sound of Crescent City jazz. Oliver had been a father figure to young Armstrong, and in 1922 he invited his protégé to join his group in Chicago. Armstrong’s brilliance was already evident, and his arrival transformed the Oliver band from a classic ensemble to a legend. It’s our supreme good fortune that the next year the group put much of its repertoire on disc – 37 sides which constitute the first unequivocal demonstration of the expresssive potency of jazz, in all its variety and fire. While it’s easy to marvel at the immensity of Armstrong’s burgeoning talent, the overwhelming effect of these records is the power of the Creole Jazz Band as a whole. With King Oliver firmly at the helm, the group achieves a level of focused energy and invention that is simply irresistible. In accord with New Orleans practice, theirs is largely an ensemble music – solos tend to be short, adding colour to the overall texture. But the definition of the individual voices is a constant delight, as is the unflagging, pulsating swing."

"Critics like to describe certain records as ‘seminal’ and, in several ways, Lee Morgan’s The Sidewinder actually was. It marked a return to form for the erstwhile trumpet prodigy, whose career had gone adrift due to drugs. In 1963, still only 25, he was already a veteran of the Dizzy Gillespie band – which he had joined at 18 – and Art Blakey’s Jazz Messengers. The epitome of the bravura energy and bluesy drive of hard bop, Morgan was renowned for his cocky assurance, flashing technique and love of playing. He attacked solos with a boyish zest, as if he couldn’t wait to tell you everything he was feeling and show you what he could do. His blend of funk, fire and fun – plus a knack for adventurous phrasing – gave an exuberant edge to all five tracks on The Sidewinder. But the surprise was its title tune, a sinuous blues line with an infectious, hip-swinging beat which caught the ear of the public. Morgan and his record company, Blue Note, had a huge Top 40 hit on their hands, with consequences they could not have predicted. Having tasted commercial success, the trumpeter, though passionate about his art, felt his subsequent albums needed a groovy, R‘n’B-style hook. And Blue Note, a small label proud of its independence, found it couldn’t meet the demand for The Sidewinder. So it joined forces with a larger firm, and gradually moved away from its pure-jazz ethos into the twilight zone of fusion and crossover. But, as the 1960s wore on, that was clearly where jazz was headed. The Sidewinder inspired countless dumbed-down imitations, without the original’s subtle flair. Ironically, Lee Morgan fiercely opposed the trend he was thought to have started, insisting on the vital depth of jazz, which he pursued in his own playing. But his career and life were savagely ended when he was shot at a club by a jealous woman in 1972. It’s a sad and curious tale, but what remains is Lee Morgan’s achievement, not least in The Sidewinder itself. Freed from its cultural context, it retains all its ebullience, energy and charm and its famous title tune is an abiding delight. The disc’s real distinction, like that of Lee Morgan himself, is a timeless creativity."

"When Freddie Hubbard died at the end of 2008, it was sobering to think that the younger generation of jazz fans might not be sure who he was. Aged 70, the trumpeter had been largely inactive for almost two decades, his career plagued by lip trouble and a lack of direction. It was a far cry from his 1960s status as a new trumpet king, synonymous with cutting-edge excitement, a key player in most classic sessions of those heady days."

"In the Big Rock Candy Mountains All the cops have wooden legs And the bulldogs all have rubber teeth And the hens lay soft-boiled eggs."

"In the Big Rock Candy Mountains There's a land that's fair and bright Where the handouts grow on bushes And you sleep out every night Where the boxcars all are empty And the sun shines every day On the birds and the bees and the cigarette trees The lemonade springs where the bluebird sings In the Big Rock Candy Mountains."

"I'm a-goin' to stay where you sleep all day Where they hung the Turk that invented work In the Big Rock Candy Mountains."

"There was a time people blamed me for ruining all these bass players. So I try to pound it into [new players]: drummer, drummer, drummer. Watch the drummer, stay with the drummer, keep your time together. I’m trying to undo the damage I may have done. When you’re a kid and there’s a cake in front of you, you want the frosting right away. I try to undo that as best as possible by just emphasizing, for newer or younger players, that [the cake itself] is so vitally important."

"(Incantation) Marduk caught some flak for some work they’ve done that references the Nazis in the context of WWII. In that same breath, you’ve recently caught fire over your association with your former singer Craig Pillard and his Nazi-related project Der Sturmer. What are your thoughts on that?(McEntee) [laughs] Well, first of all it’s kind of ridiculous because he is our former singer. I can’t have control over what any of my former members do or what they’re into. That was probably about 2 years after he left the band when he got into some of his controversial stuff. I mean it’s so just ridiculous because this Nazi stuff never even slightly came up when we were in a band. So it’s just totally insane. For many years, I barely even talked to Craig so to have any affiliation with whatever he’s doing, regardless of what it is… Yeah, we have a connection because he played in Incantation and he did an amazing job while he was in the band, but that’s really as far as our relationship goes.The thing with that… I think that it’s really ignorant because they’re not really getting proper information and trying to go for low hanging fruit. If they really wanted to do the right thing in pushing their agenda I think they need to find the right way to do it where they’re not going to get too much push back. The way they’re doing it is almost fueling more problems. If they really feel that us and Marduk are racist, they should know for sure before making those accusations. But to try to say that the people coming to a show are being Nazi sympathizers is just absolutely insane. I mean especially in Austin [where protestors showed up]– 80% of the crowd is probably Mexican or Latino. And the way they’re dealing with things is actually causing more push back in the opposite direction than they would if they didn’t do anything at all. Now there’s people that are just pissed off at them. They’re gonna do antagonizing stuff to them– I have seen Mexican people giving them the “Hail Hitler” sign at the show and they were doing it to piss them off, not because they’re racist.They’re going about it is just wrong. I mean especially stopping shows– you’re not gonna make more fans by stopping shows. They stopped the show in Oakland, California– I think they made some threats and the show didn’t go on. All that did was really piss off a lot of people, and it totally doesn’t help anything. Drunken metal heads want to go to a show and have a good time, you know?The thing that really drives me up a wall is that we are metalheads­– we’re supposed to be rebellious and on the edge­– we’re supposed to be kind of assholes to some extent. That’s the only reason why I got into metal. I don’t feel like I need to prove to people anything really. I shouldn’t have to. We play all around the world to different people of all different nationalities and the thing that we have in common is that we all like metal. We’re really appreciative of that. I would say the same for Marduk. They play all around the world for people, and if they were really racist they’d only be playing in Europe and certain places where there’s white people. So it’s just absurd.That’s what kills me. We need to work together to build our scene, not work apart. And the thing is that people go to our shows… we don’t have a litmus test. They could be Nazis or they could be ANTIFA or whatever­– just go and enjoy the show. The show is our getaway from everything. It’s not a test to be one thing or the other– it has no relevance to our show whatsoever [laughs]. We don’t do anything that’s political in anyway. We have no interest in it. If you’re religious you’ll get a little offended but I mean everyone is allowed at our shows. Whatever they believe is none of our business."

"Since the accordion has so many attributes that are conducive to chamber music, it is particularly suitable for this medium of expression. In essence, the accordion has all of the prerequisites essential to small ensemble involvement: sustaining power, dynamic sensitivity, articulated response, timbre, and texture variance, and compatibility of sound with string and wind instruments."

"The accordion fun? ....Sometimes. Not all the time. I find that it can be a frustrating instrument. The coordination involved is extraordinary and sometimes that coordination doesn't happen.... The use of the left hand and at the same time getting the dynamic range, the volume, is quite difficult. Other times it is fun if you're working with other musicians and you're doin' pieces that you really enjoy. It can really be fun!"

"The difficulties, of course, if you take an orchestral work you want to try to get as much of that composition, harmonically, and contrapuntally, that you possibly can. Many times that's impossible. It depends upon the texture of the music. And there are certain solo things that simply do not lend themselves to the accordion, such as Chopin. The ballads would be next to impossible to really do successfully...The accordion is allied to organ-texture, for instance, a Bach Prelude."

"There are instruments known as free-bass instruments, or sometimes called the bassetti, where you have totally complete single pitches, simply like you would in the right hand, and you form your own chords. And you have a greater range in the left hand, some three to four-and-a-half octaves."

"The buttons on the standard instrument are a combination of single bass notes and sets of chords - major, minor, dominant seventh, and diminished...Yes (in all keys). And you can form other chords using more than one button; you don't have to just stay with one button. So you can play the root of the chord, with a single bass note, and then the chord coupled with that. So you get a considerable amount of sonority that way."

"Out of 8 billion people on the planet, there are only 16 million Jews—but far, far more anti-Semites."

"[I]s Trump a philo-Semite or an anti-Semite? The answer is both. The principle that explains his seemingly contradictory outlook toward Jews is simple: Trump believes all the anti-Semitic stereotypes about Jews. But he sees those traits as admirable. To Trump, the belief that Jews are foreign interlopers who use their wealth to serve their own clannish interests is not a negative — as it is for traditional anti-Semites — but rather a positive. He wants Jews to be his attorneys and manage his money, so that he, too, can be rich. He wants them in his political corner, so that he, too, can be powerful. He wants to buy politicians, just like he thinks they do. As a man who has always stood solely for his own naked self-interest, Trump does not see the anti-Semitic conception of the self-interested Jew as a complaint, but rather a compliment. He prioritizes his needs ahead of the national interest, and so he sees the idea that Jews might do the same with themselves or with Israel as entirely natural."

"In July 2016, Trump tweeted a meme declaring that Hillary Clinton was "the most corrupt candidate ever"—with those words emblazoned over a six-pointed Jewish star superimposed on a pile of money. The meme had previously been popularized on a neo-Nazi website. Shortly before the election, Donald Trump Jr. retweeted Kevin MacDonald, America’s premier white-supremacist academic, who has argued that Jews are genetically driven to destroy Western countries, pumping the marginal malcontent into the political mainstream."

"There is something freeing in seeing yourself in a new context. People have no preconceived notion of who you are, and there is relief in knowing that you can re-create yourself. When you’re entrenched in a community of people who know you, it’s scary to proclaim wanting to be different and wanting to experiment. We went to the other side of the world to make our own sound. Usually this is a methodology you employ as a restart later in your career. We did it right up front. We traveled to a foreign country for our first record. We had to uproot ourselves, not because we were deep into career ruts, or didn’t want to give credit to the places we had come from, but because we had no desire to sound like or emulate anything that had come before.It was an extreme way to start, but I learned later on how hard it can become to unsettle yourself, to trip yourself up, and I think that’s a good place to write from. It’s important to undermine yourself and create a level of difficulty so the work doesn’t come too easily. The more comfortable you get, the more money you earn, the more successful you are, the harder it is to create situations where you have to prove yourself and make yourself not just want it, but need it. The stakes should always feel high."

"The culture of suppressing women composers and performers goes centuries back in Germany and other countries."

"Civil-Civility depicts the acts and writings of courageous women who I felt defied all odds to help women and humanity."

"It breaks my heart They ain't believe in us We the best music They played themselves While you hatin' and being jealous You could be over here embracin' that love More love, more blessings, more life GOD DID You either win with us, or you watch us win."

"The key is to make it."

"I eat pears now, and shit like that. Shoutout to all the pear."

"They kick you when you're down but they wanna kick it when you up."

"Don't ever burn a bridge. Let me ask you a question: can you walk on water? Don't burn no bridge. Only God can walk on water."

"A lot of people see the glory, and don't know the story."

"You do know it cost money to put a t-shirt on your back? You do know it cost money have a house, a home? You do know it cost money to eat? Get money, don’t let these people fool you."

"I heard that you don't do favors for the mob but do you treat the devil the same?"

"Either do the fucking thing and shut the fuck up, or fucking just shut the fuck up."

"Eliza R. Snow arose and said that she felt to concur with the President, with regard to the word Benevolent, that many Societies with which it had been associated, were corrupt,—that the popular Institutions of the day should not be our guide—that as daughters of Zion, we should set an example for all the world, rather than confine ourselves to the course which had been heretofore pursued."

"E. R. Snow offer'd an amendment by way of transposition of words, instead of The Nauvoo Female Relief Society, it shall be call'd the Female Relief Society of Nauvoo—Seconded by Prest. J. Smith and carried."

"I want you to instruct the sisters."

"Women had much more to do in moulding Society than men had We want to be living monuments of the character of our Heavenly Father and Mother and if we lived up to the priveliges we had we would all meet in their presence and have a good time together, if we could only get through without a spot on our Garments without speaking against the Priesthood or the principles of the Gospel Then what a Glorious thing it would be, how pure how holy and how enobled we would feel be if we could live thus."

"In the heav’ns are parents single? No, the thought makes reason stare; Truth is reason—truth eternal Tells me I’ve a mother there. When I leave this frail existence— When I lay this mortal by, Father, mother, may I meet you In your royal court on high?"

"My sisters, let us cultivate ourselves, that we may be capable of doing much good. We are daughters of our Heavenly Father, and our position as Saints of the Most High is at the head of the world."

"Woman must save her self. I would not risk my salvation to any man or being I must stand before my God and be judged If I act as a priestest [priestess] unto my God I must earn my position[.]"

"Tell me why are we, so blind to see That the ones we hurt, are you and me? Tell me why are we, so blind to see That the ones we hurt, are you and me?"

"Been spendin' most their lives, livin' in the gangsta's paradise Been spendin' most their lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise."

"Power and the money, money and the power Minute after minute, hour after hour Everybody's runnin', but half of them ain't lookin' It's goin' on in the kitchen, but I don't know what's cookin'"

"They say I gotta learn, but nobody's here to teach me If they can't understand it, how can they reach me I guess they can't, I guess they won't I guess they front, that's why I know my life is out of luck, fool."

"As I walk through the valley of the shadow of death I take a look at my life and realize there's not much left 'Cause I've been blastin' and laughin' so long, that Even my mama thinks that my mind is gone But I ain't never crossed a man that didn't deserve it Me be treated like a punk, you know that's unheard of You better watch how you're talkin', and where you're walkin' Or you and your homies might be lined in chalk."

"I also want to encourage others to work in this field [of recording sounds] without having to spend a lot of money on gear. Putting a sock on your smartphone and laying it next to a bird’s nest can yield some pretty incredible recordings!"

"The [musical] thinking leans heavily on vocabulary and thoughts that one develops in design and architecture school...I think about space and structure and skin and texture. I think about color and movement, and all of these things that have no direct relation to quarter notes and half-notes and rests."