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Jazz changes and all. But I don't know the names of what it is I'm doing.
There's a richness to the old works if you look before the 1950s. The chord progressions and the language was more complicated, especially in the jazz and classical world.
I think that band [Glenn Miller] was the beginning of the end. It was a mechanized version of what they called jazz music. I still can't stand to listen to it.
Louis Armstrong is the master of the jazz solo. He became the beacon, the light in the tower, that helped the rest of us navigate the tricky waters of jazz improvisation.
I'm just writing love songs. I'm not trying to be pop. I'm not trying to be jazz. I'm not trying to be anything. I'm just writing love songs. And everyone loves a love song.
Jazz brought this sense of democracy where four guys come together and your name may be on the marquee, but in this moment, when you're the soloist, it's you, and we follow you. We follow you.
Many an American jazz musician has been beguiled by the lush melodies and sumptuous rhythms of Brazilian music, but Peter Sprague has taken the romance a good deal further than most.
I know I’m an African-American, and I know I play the saxophone, but I’m not a jazz musician. I’m not a classical musician, either. My music is like my life: It’s in between these areas.
After me there are no more jazz singers . . . It's a crime that no little singer is back there sockin' it to me in my field. To keep it going, to keep it alive, because I'm not going to live forever.
When comedy is good, it's jazz. The beats of it, the looseness, the improvisational part, the music-the way you hit the inflection, the high notes of a joke. It's all melody to me.
It's something that - jazz is one of the few things that you can go and listen to, I don't care where you're from, what you are, what background you come from - there's something there for you.
I don't want to do free jazz! Because free jazz - which is the musical equivalent of free marketeering - isn't actually free at all. It's just constrained by what your muscles can do.
I've worked with jazz artists, country artists, classical artists, pop artists. I never wanted there to be categories, because when I was a kid there weren't.