Jazz Musicians

"There's no record industry, and so musicians I know, because I get mail from young musicians, I mean, they're really just struggling to survive, because they're not gonna get a record contract! So what are they doing? To survive? Like I did? I mean, okay I drove trucks, and sold caviar and repaired instruments just to survive. But in the end, you know, I'm in the studio, you know, recording rock music, pop music, whatever! Whatever gives me money to put in my, you know, food in my mouth. And so there's a lot of great musicians today, they're just looking for a gig! And what are the gigs that are going around? The gigs with pop bands or with smooth jazz, funky jazz, you know, a lot of this kind of cliched music. I'm sorry to criticize it like that, but I grew up with Tony (Williams) and you know Miles (Davis), (John) Coltrane, and real things, where there's blood all over the floor, blood all over the stage, that's what the passion's all about."

"I practice all the scales. Everyone should know lots of scales. Actually, I feel there are only scales. What is a chord, if not the notes of a scale hooked together? There are several reasons for learning scales: one, the knowledge will unlock the neck for you -- you'll learn the instrument; second, if I say I want you to improvise ofer Gmaj7+5, then go to Eaug9-5, then to bmaj7-5 --well, if you don't know, what those chords are in scale terms, you're lost. It's not all that difficult, but you have to be ready to apply yourself..."

"Whether people accept this music or not, I don’t give a damn. I know how good—and right—the group is. We all sell out to a point. And don’t get me wrong, I like living comfortably and having a nice car. But if money determines your art, then what’s the point?"

"For me, I can still say music is God, music is the face of God. That's everybody, that's the hearts of men. And that's important to me. But that's not the way everybody sees it. And, of course, what happened in interviews, especially in collective interviews, was that people would ask me questions and I would talk about development and ideals, about which I already have talked too much this afternoon, and these questions would be posed to the other musicians and they would say, "We don't want to feel that way at all, we're not into that.""

"One thing I learned a long time ago was my fretboard, in terms of all the scales in all the positions...You have to learn it - there are no two ways about it. I shift between positions so easily now that I really don't have to think about them much...I would suggest starting your scale education with the major and minor scales, and after that, diminished, augmented and whole-tone. Then depending on what kind of music you want to play, the modes should be learned. My theory about this kind of thing is that you should learn it all. Once you've learned it you can play whatever you want to play, and I think that your playing will be more advanced, and you'll have a better understanding of the instrument."

"Learning to play the guitar is a combination of mental and motor skill acquisition. And to develop motor skills, repetition is essential ... Whenever musicians have trouble executing a passage, they generally tend to blame themselves for not having enough talent. Actually, all that's wrong is they don't know where their fingers are supposed to go ... You should learn the piece in your head before you play it. And when you do play it, play it so slow that therre's no possibility of making a mistake."

"You shouldn't hear the guitar by itself. It should be part of the drums so it sounds like the drummer is playing chords -- like the snare is in A or the hi-hat in D minor. You only notice the guitar when it's not there."

"I probably do what I'm controlled to do. Something … made all this: some Impossibility without a name. That's what the world is controlled by: an Impossibility. It's controlled by someone they call "God" who never had a beginning and naturally had no end. And in a sense He doesn't exist, because of the standards of reality, because everybody knows something can't just happen — but if there is a God, that's what happened; just happened to be, and without ever having not been — they got to face that."

"Proper evaluations of words and letters in their phonetic and associated sense can bring the people of earth to the clear light of pure cosmic wisdom."

"When the person Myth meets the person Reality The spirit of the impossible-strange appears In dark disguise It is always there where nothing inverts itself and becomes something Whatever is the imperative need"

"Out of nowhere they come like embers suddenly aflame With living reach Spiral infinity Being. Yes. Out of nowhere they come from the no point."

"It takes a motion to notion and it takes a notion to motion."

"Behold the pre-prophetic symbols of the planes of Never. Behold, behold this thisness! This isness."

"The future is never Never comes tomorrow Never is not"

"I think of myself as a complete mystery. To myself."

"Music is not material. Music is Spiritual."

"Freedom of Speech is Freedom of Music."

"In some far off place Many light years in space I’ll wait for you. Where human feet have never trod, Where human eyes have never seen. I'll build a world of abstract dreams And wait for you."

"Music is a plane of wisdom, because music is a universal language, it is a language of honor, it is a noble precept, a gift of the Airy Kingdom, music is air, a universal existence … common to all the living. Music is existence, the key to the universal language. Because it is the universal language."

"I see them as they are to is And not the seeming isness of the was."

"Sometimes in the ignorance I feel the meaning Invincible invisible wisdom, And I commune with intuitive instinct With the force that made life be And since it made life be It is greater than life And since it let extinction be It is greater than extinction. I commune with feelings more than prayer"

"Somewhere in the other side of nowhere is a place in space beyond time where the Gods of mythology dwell. … These gods dwell in their mythocracies as opposed to your theocracies, democracies, and monocracies. They dwell in a magic world. These Gods can even offer you immortality."

"People have a lot more of the unknown than the known in their minds. The unknown is great; it's like the darkness. Nobody made that. It just happens. Light and all that — someone made that; it's written that they did. But nobody made the darkness. My music is about dark tradition. Dark tradition means a lot more about than black tradition. There's a lot of division in what they call black. I'm not into division. I'm into coordination, discipline and tradition."

"What I'm dealing with is so vast and great that it can't be called the truth. It's above the truth."

"I never wanted to be a part of planet Earth, but I am compelled to be here, so anything I do for this planet is because the Master-Creator of the Universe is making me do it. I am of another dimension. I am on this planet because people need me."

"Well, actually, I'm a psychic being, and you know, we don't concern ourselves with being born; we concern ourselves with being eternal; we deal with the spirit."

"I have never looked like being in that incredible virtuoso class like, say, Stan Getz. I think people made a mistake and put me in that embryonic class when I was very young and thought that I was going to branch out to be a big instrumentalist in some way or another. But I always find that I very, very seldom get anywhere near what I consider a satisfactory standard. I would much rather be judged for my writing because writing is a thing that you can have second thoughts about and, if it isn’t right, you can’t blame somebody else but yourself."

"It is not governed by the senseless world of current style that pervades and pollutes popular music, nor is it part of an established hierarchy, so that it is cloistered and protected."

"Jazz today can be spiritual, cerebral, motivating or moving. It can evoke tension, relaxation, laughter, tears. Surely jazz is truly the music of the era, combining stature, dignity and emotion with the highest musical ideals."

"Forget the word youth – this is one of the best bands you'll ever hear."

"The hardest thing to do is to swing quietly, with control and restraint. Lots of bands swing loudly. I refuse to let my band play loudly in order to try to swing when it isn’t swinging softly. I think that the best jazz in the long run is the jazz that is controlled and will swing on its own terms."

"Couth, kempt and shevelled."

"Count Basie’s name brings to mind associations that might seem contradictory: a famously minimalist piano style and the celebrated big band he led for 50 years. In fact, the two were perfect complements. The Basie band took much of its character from the subtle way the Count’s pithy, elliptical attack framed his shouting brass and saxes. More crucially, Basie’s touch set the tone for the band’s rhythm section; the light, insistent pulse that generated the irresistible current of swing that lifted soloists and ensemble to heights of inspired excitement."

"It's the way you play that makes it. What I say is, for Christ's sake, you don't have to kill yourself to sing. Play like you play. Play like you think, and then you got it, if you're going to get it. And whatever you get, that's you, so that's your story."

"Contrary to several conflicting stories, I got the name "Count" right in Kansas City in 1936 while at the Reno Club. I was known as Bill Basie at that time. One night, while we were broadcasting, the announcer called me to the microphone for those usual few words of introduction. He commented that Bill Basie was a rather ordinary name, and further that there were a couple of well-known bandleaders named Earl Hines and Duke Ellington. Then he said, "Bill, I think I'll call you Count Basie from now on. Is that all right with you?" I thought he was kidding, shrugged my shoulders and replied, "OK." Well that was the last time I was ever introduced as Bill Basie. From then on, it was Count Basie, and I never did lose that nickname. It's funny the way those things will stick."

"I know this from somewhere—it seems as though every time I turn on the radio this seems to slip in; and I've always liked it. It's cute, real cute; and although it's sort of not in my department and I don't know too much about that type of music, I like it an awful lot. Wonderful piano; vibes sound like what's his name, [[w:Terry Gibbs|[Terry] Gibbs]], a little bit; and the alto, if it's not the Bird, he loves Bird. All the solos were wonderful. I've got to give it four stars."

"The Basie band took much of its character from the subtle way the Count’s pithy, elliptical attack framed his shouting brass and saxophones. More crucially, Basie’s touch set the tone for the band’s rhythm section; the light, insistent pulse that generated the irresistible current of swing that lifted soloists and ensemble to heights of inspired excitement."

"Radio personality, humorist, writer, cartoonist, ex-Guards officer and aristocrat – Humphrey Lyttelton’s status as one of Britain’s favourite all-rounders sometimes overshadowed his true stature as a jazz musician. But jazz was always his first, abiding love. In 1936, as an Eton schoolboy, he fell under the spell of Louis Armstrong, taught himself trumpet and formed a band. After World War II, he spearheaded Britain’s trad-jazz revival, though he was always more in it than of it. Bored by the purists’ dogmatic style, he broke ranks in 1953 by adding a non-trad saxophone to his group. At the concert, outraged zealots responded with the banner: ‘Go home, dirty bopper!’ But as the title of one of Lyttelton’s books put it, I play as I please; what pleased him was imaginative, swinging jazz with plenty of emotional energy. This was evident from the washboard whimsy of his early recordings and his jovial forays into calypso, to the jump-band vigour of the mid-1950s that evolved into the smooth, hard-driving mainstream which he continued to the end of his life. In a career spanning over six decades, till his death in 2008, he encouraged and inspired many of the most prominent jazz musicians in Britain."

"Coincidence is a wonderful thing."

"After tasting the meat pies, Samantha said she liked Mr Dewhurst’s beef in ale; although she preferred his tongue in cider."

"Well as the vanquished charwoman of time begins to Shake-n-Vac the shagpile of eternity, I've noticed that we've just run out of time..."

"Now it's time to play a brand new game called Name That Barcode. Here's the first one: "Thick black, thin white, thick black, thick white, thick black, thin white." OK who's going to identify that?"

"An interviewer had researched Lyttelton's other interests and asked him about "orthinology" (sic). Lyttelton said that he kept a straight face and answered the question but 24 hours later thought of what he should have replied: "Oh, you mean word-botching"."

"One musn't be misled by the amiable, bumbling persona. ... He is a toughly intelligent man moving confidently in any kind of surroundings from Windsor Castle to Birdland."

"You run into a party and [a] woman comes up to you. She's the most beautiful creature you ever saw — Ava Gardner — and says, "I like you and why don't we get together?" What are you going to say, "No"? You'd have to be an idiot. She was an incredible creature."

"It became such a hit that it superseded anything that any band had ever had. It was the first time that a so-called swing band played something melodic and still gave it a beat."

"My job is to play music, not politics, and my only obligation is to the people who pay to listen to me. I don't attempt to ram hackneyed, insipid tunes down the public's throat just because they've been artificially hypoed to the so-called 'hit' class. This policy of trying to maintain some vestige of musical integrity has, naturally, earned me enemies, people who think I'm a longhair, impressed with my own ability. Nothing could be farther from the truth. My faith in dance music — I refuse to call it swing — borders on the fanatic. I have the utmost respect for the many real musicians who are creating a new music as important as the classics, but I have no respect for musical clowns who lead an orchestra with a baton and a quip. However, more power to them if they can make it pay."

"Agence France Presse says the Communist Party doesn’t endorse Barack Obama, but that’s just the media covering for him again. Because they do endorse Obama."

"...the lunatic fringe group called Neturei Karta, whose total world membership is about 10..."

"Barack Obama’s naïve, almost schoolyard-level attitude toward international politics is on display again today, as he says the US needs to set a better example for Russia: Obama: Russia, U.S. should not ‘charge into’ other countries. This is normal "progressive" thinking, and you find these bizarre assumptions everywhere in leftist circles: if we just achieve some noble ideal of behavior, that alone will be enough to usher in a new era of peace and global good will — and in the meantime, it’s important to let our adversaries know that we’re not perfect and we understand their feelings."