Jazz Music Quotes

Jazz isn't dead. It just smells funny.

I never liked jazz music because jazz music doesn't resolve. But I was outside the Bagdad Theater in Portland one night when I saw a man playing the saxophone. I stood there for fifteen minutes, and he never opened his eyes. After that I liked jazz music. Sometimes you have to watch somebody love something before you can love it yourself. It is as if they are showing you the way. I used to not like God because God didn't resolve. But that was before any of this happened.

If Music is a Place -- then Jazz is the City, Folk is the Wilderness, Rock is the Road, Classical is a Temple.

There are only two things: love, all sorts of love, with pretty girls, and the music of New Orleans or Duke Ellington. Everything else ought to go, because everything else is ugly.

The piano ain't got no wrong notes.

If you have to ask what jazz is, you'll never know.

There is something beautiful about a billion stars held steady by a God who knows what He is doing. (They hang there, the stars, like notes on a page of music, free-form verse, silent mysteries swirling in the blue like jazz.) And as I lay there, it occurred to me that God is up there somewhere. Of course, I had always known He was, but this time I felt it, I realized it, the way a person realizes they are hungry or thirsty. The knowledge of God seeped out of my brain and into my heart. I imagined Him looking down on this earth, half angry because His beloved mankind had cheated on Him, had committed adultery, and yet hopelessly in love with her, drunk with love for her.

Amy [Winehouse] changed pop music forever, I remember knowing there was hope, and feeling not alone because of her. She lived jazz, she lived the blues.

All is as if the world did cease to exist. The city's monuments go unseen, its past unheard, and its culture slowly fading in the dismal sea.

Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you that music has boundaries. But, man, there's no boundary line to art.

Reading was like an addiction; I read while I ate, on the train, in bed until late at night, in school, where I'd keep the book hidden so I could read during class. Before long I bought a small stereo and spent all my time in my room, listening to jazz records. But I had almost no desire to talk to anyone about the experience I gained through books and music. I felt happy just being me and no one else. In that sense I could be called a stack-up loner.

Poetry, like jazz, is one of those dazzling diamonds of creative industry that help human beings make sense out of the comedies and tragedies that contextualize our lives.

At the edge of madness you howl diamonds and pearls.

Life is a lot like jazz - it's best when you improvise.

There are only three things that America will be remembered for 2000 years from now when they study this civilization: The Constitution, Jazz music, and Baseball. These are the 3 most beautiful things this culture's ever created.

Do we not each dream of dreams? Do we not dance on the notes of lost memories? Then are we not each dreamers of tomorrow and yesterday, since dreams play when time is askew? Are we not all adrift in the constant sea of trial and when all is done, do we not all yearn for ships to carry us home?

It’s not the note you play that’s the wrong note – it’s the note you play afterwards that makes it right or wrong.

Writing about music is like dancing about architecture.

I’m always thinking about creating. My future starts when I wake up in the morning and see the light.

Call me crazy, but there is something terribly wrong with this city.

I never liked jazz music because jazz music doesn't resolve. But I was outside the Bagdad Theater in Portland one night when I saw a man playing the saxophone. I stood there for fifteen minutes, and he never opened his eyes.

The blues is an impulse to keep the painful details and episodes of a brutal experience alive in one's aching consciousness, to finger its jagged grain, and to transcend it, not by the consolation of philosophy but by squeezing from it a near-tragic, near-comic lyricism. As a form, the blues is an autobiographical chronicle of personal catastrophe expressed lyrically.

I can’t help but ask, “Do you know where you are?” She turns to me with a foreboding glare. “Do you?

My other friends are in music relaxation class, which I do not attend, because smooth jazz makes me angry sometimes.

To most white people, jazz means black and jazz means dirt, and that's not what I play. I play black classical music.

Sans le jazz, la vie serait une erreur

There is a stillness between us, a period of restlessness that ties my stomach in a hangman’s noose. It is this same lack in noise that lives, there! in the darkness of the grave, how it frightens me beyond all things.

If movements were a spark every dancer would desire to light up in flames.

In those days it was either live with music or die with noise, and we chose rather desperately to live.

Jazz music itself is an example of changing poison into medicine. African Americans created jazz, a great medicine for people’s hearts, out of the poisonous experience of slavery. Jazz developed from African culture, gospel music, and blues to lift up the spirits of oppressed people, and now it brings joy to people the world over.

There's something beautifully friendly and elevating about a bunch of guys playing music together. This wonderful little world that is unassailable. It's really teamwork, one guy supporting the others, and it's all for one purpose, and there's no flies in the ointment, for a while. And nobody conducting, it's all up to you. It's really jazz__that's the big secret. Rock and roll ain't nothing but jazz with a hard backbeat.

Did Bach ever eat pancakes at midnight?

Show me a person who found love in his life and did not celebrate it with a dance.

you're @ home?"She could hear him moving around..."I'll let you go then." "What if I dont want you to?"he said. She heard the music as he walked toward his room, some sort of jazz.her heart sped up, thinking of him stretched out on his bed too, "Good night, Seth." "So ur running again, then? One of his boots thudded on the floor."I'm not running.".. "Really?" "Really.Its just--"She stopped. "Maybe you should slow down, so i can catch you."He paused, waiting.He seemed to do that more & more lately, make statements that invited her to admit something dangerous to their friendship.When she didnt answer he added, "Sweet dreams, Ash.

If you don't know what to play, play nothing.

the grace is being able to like rock music, symphony music, jazz … anything that contains the original energy of joy.

Life is an affair of mystery; shared with companions of music, dance and poetry.

If you have to ask what jazz is you will never know." Louis Armstrong

Deliverance is to the Bible what jazz music is to Mardi Gras: bold, brassy, and everywhere.

As Duke Ellington once said, “There are simply two kinds of music, good music and the other kind.” In that sense, jazz and classical music are fundamentally the same. The pure joy one experiences listening to “good” music transcends questions of genre.

I'm a bluesman moving through a blues-soaked America, a blues-soaked world, a planet where catastrophe and celebration- joy and pain sit side by side. The blues started off in some field, some plantation, in some mind, in some imagination, in some heart. The blues blew over to the next plantation, and then the next state. The blues went south to north, got electrified and even sanctified. The blues got mixed up with jazz and gospel and rock and roll.

History doesn’t start with a tall building and a card with your name written on it, but jokes do. I think someone is taking us for suckers and is playing a mean game.

Jazz is the music of the body. The breath comes through brass. It is the body’s breath, and the strings’ wails and moans are echoes of the body’s music. It is the body’s vibrations which ripple from the fingers. And the mystery of the withheld theme, known to jazz musicians alone, is like the mystery of our secret life. We give to others only peripheral improvisations.

Jazz is democracy in music.

In his entirely personal experience of them, English was jazz music, German was classical music, French was ecclesiastical music, and Spanish was from the streets. Which is to stay, stab his heart and it would bleed French, slice his brain open and its convolutions would be lined with English and German, and touch his hands and they would feel Spanish.

You hear lots of notes, don’t you? Some have a major sound. Some have a minor sound. But there’s not one blue note among all these black and white keys. The real blues, the soul of the sound, comes from the spaces in-between.

Country music was the most segregated kind of music in America, where even whites played jazz and even blacks sang in the opera. Something like country music was what lynch mobs must have enjoyed while stringing up their black victims. Country music was not necessarily lynching music, but no other music could be imagined as lynching’s accompaniment. Beethoven’s Ninth was the opus for Nazis, concentration camp commanders, and possibly President Truman as he contemplated atomizing Hiroshima, classical music the refined score for the high-minded extermination of brutish hordes. Country music was set to the more humble beat of the red-blooded, bloodthirsty American heartland. It was for fear of being beaten to this beat that black soldiers avoided the Saigon bars where their white comrades kept the jukeboxes humming with Hank Williams and his kind, sonic signposts that said, in essence, No Niggers.

Jazz will endure as long as people hear it through their feet instead of their brains

You've got to dig it to dig it, you dig?

This is why the classical of the jazz music station plays? to give a ground of meaning to our pain?

Jazz was about the spaces between notes. It was about what happened when you listened to the thing inside you. The gaps and the cracks. Because that was where life really happened, when you were brave enough to free-fall.

She leaves my side and heads deeper into the apartment singing, “—if the spirit tries to hide, its temple far away… a copper for those they ask, a diamond for those who stay.

The kid come in at a strange angle, made the notes glitter like crystal.

You’ll get through this. You fear you won’t. We all do. We fear that the depression will never lift, the yelling will never stop, the pain will never leave. Here in the pits, surrounded by steep walls and angry brothers, we wonder, Will this gray sky ever brighten? This load ever lighten? We feel stuck, trapped, locked in. Predestined for failure. Will we ever exit this pit? Yes! Deliverance is to the Bible what jazz music is to Mardi Gras: bold, brassy, and everywhere.

There is something beautiful about a billion stars held steady by a God who knows what He is doing. (They hang there, the stars, like notes on a page of music, free-form verse, silent mysteries swirling in the blue like jazz.) And as I lay there, it occurred to me that God is up there somewhere.

Today you go into make a modern recording with all this technology. The bass plays first, then the drums come in later, then they track the trumpet and the singer comes in and they ship the tape somewhere. Well, none of the musicians have played together. You can’t play jazz music that way. In order for you to play jazz, you’ve got to listen to them. The music forces you at all times to address what other people are thinking and for you to interact with them with empathy and to deal with the process of working things out. And that’s how our music really could teach what the meaning of American democracy is.

Did you even know the saxophone could make duck farm noises? You know I'm a genius jazz performer because it sounds like I haven't played an instrument ever before.

Music is always for the listener, but the first listener is always the musician

And I like Strauss and Mozart and all that, but the priceless gift that African Americans gave the world when they were still in slavery was a gift so great that it is now almost the only reason many foreigners still like us at least a little bit. That specific remedy for the worldwide epidemic of depression is a gift called the blues. All pop music today-jazz, swing, be-bop, Elvis Presley, the Beatles, the Stones, rock and roll, hip hop and on and on- is derived from the blues.

Now I shall speak of evil as none has Spoken before. I loathe such things as jazz; The white-hosed moron torturing a black Bull, rayed with red; abstractist bric-a-brac; Primitivist folk-masks; progressive schools; Music in supermarkets; swimming pools; Brutes, bores, class-conscious Philistines, Freud, Marx, Fake thinkers, puffed-up poets, frauds, and sharks.

Cinnamon Girl" wasn't right for this day, for this time, for what was about to happen. If he were to have music, he thought, maybe Shostakovich, a few measures from the Lyric Waltz in Jazz Suite Number 2. Something sweet, yet pensive, with a taste of tragedy; Qatar was an intellectual, and he knew his music.

I don’t know a thing about jazz.” “That’s okay.” He pulled me toward the door and opened it. “You know music. Jazz will explain itself.

Jazz is the only unhampered, unhindered expression of complete freedom yet produced in this country.

Sometimes it's to your advantage for people to think you're crazy.

I steal one glance over my shoulder as soon as we are far from the foreboding luminance of the neon glow, and it is there that my stomach leaps into my throat. Squatting just shy of the light and partially concealed by the shade of an alley is a sinister silhouette beneath a crimson cowl, beaming a demonic smile which spans from cheek to swollen cheek.

The most interesting of the classic movie genres to me are the indigenous ones: the Western, which was born on the Frontier, the Gangster Film, which originated in the East Coast cities, and the Musical, which was spawned by Broadway. They remind me of jazz: they allowed for endless, increasingly complex, sometimes perverse variations. When these variations were played by the masters, they reflected the changing times; they gave you fascinating insights into American culture and the American psyche.

As early as 1930 Schoenberg wrote: "Radio is an enemy, a ruthless enemy marching irresistibly forward, and any resistance is hopeless"; it "force-feeds us music . . . regardless of whether we want to hear it, or whether we can grasp it," with the result that music becomes just noise, a noise among other noises. Radio was the tiny stream it all began with. Then came other technical means for reproducing, proliferating, amplifying sound, and the stream became an enormous river. If in the past people would listen to music out of love for music, nowadays it roars everywhere and all the time, "regardless whether we want to hear it," it roars from loudspeakers, in cars, in restaurants, in elevators, in the streets, in waiting rooms, in gyms, in the earpieces of Walkmans, music rewritten, reorchestrated, abridged, and stretched out, fragments of rock, of jazz, of opera, a flood of everything jumbled together so that we don't know who composed it (music become noise is anonymous), so that we can't tell beginning from end (music become noise has no form): sewage-water music in which music is dying.

My words are not that powerful. I started saying in 1985 I don’t think we should have a music talking about ni**ers and b*tches and h*es. It had no impact. I’ve said it. I’ve repeated it. I still repeat it. To me, that’s more damaging than a statue of Robert E. Lee.

I don't get jazz. It always sounds like a bunch of toddlers let loose in a music room.

I rouse Emily to our guests, as she finishes off our fifteenth snowman by setting the head atop its torso. She stands limp at my direction, pointing out the coming shadows and I cannot help but hear a muffled sigh as she decapitates her latest creation with a single push of her hand.

I need wonder. I know that death is coming. I smell it in the wind, read it in the paper, watch it on television, and see it on the faces of the old. I need wonder to explain what is going to happen to me, what is going to happen to us when this thing is done, when our shift is over and our kids' kids are still on the earth listening to their crazy rap music. I need something mysterious to happen after I die. I need to be somewhere else after I die, somewhere with God, somewhere that wouldn't make any sense if it were explained to me right now. At the end of the day, when I am lying in bed and I know the chances of any of our theology being exactly right are a million to one, I need to know that God has things figured out, that if my math is wrong we are still going to be okay. And wonder is that feeling we get when we let go of our silly answers, our mapped out rules that we want God to follow. I don't think there is any better worship than wonder.

That’s a stupid name! Whirly-gig is much better, I think. Who in their right mind would point at this thing and say, ‘I’m going to fly in my Model-A1’. People would much rather say, ‘Get in my whirly-gig’. And that’s what you should name it.

Alice thought, No. It wasn't the War and the disgruntled veterans; it wasn't the droves and droves of colored people flocking to paychecks and streets full of themselves. It was the music. The dirty, get-on-down music the women sang and the men played and both danced to, close and shamelesss or apart and wild...It made you do unwise disorderly things. Just hearing it was like violating the law.

Invited to think of the futuristic, we will still come up with something like the music of Kraftwerk, even though this is now as antique as Glenn Miller’s big band jazz was when the German group began experimenting with synthesizers in the early 1970s.

He looked around for the most trustworthy person, for someone to be on his team. He took a gamble and dumped Bat into Lily's arms. "Watch him for me, will you?" he asked. "Make sure he gets out all right?" "Put that werewolf down immediately, Lily," Raphael ordered. "It really hurts that you would say that," Bat muttered, and shut his eyes. Lily considered Bat's head, pillowed on her lavender bosom. "I don't want to put him down," she announced. "The Shadowhunter gave this DJ to me." Bat opened one eye. "Do you like music?" "I do," said Lily. "I like jazz." "Cool," said Bat. Raphael threw up his hands. "This is ridiculous! Fine," he snapped. "Fine. Let's just vacate the collapsing mansion, shall we? Can we all agree on that one fun, non-suicidal activity.

You have a picture of life within you, a faith, a challenge, and you were ready for deeds and sufferings and sacrifices, and then you became aware by degrees that the world asked no deeds and no sacrifices of you whatever, and that life is no poem of heroism with heroic parts to play and so on, but a comfortable room where people are quite content with eating and drinking, coffee and knitting, cards and wireless. And whoever wants more and has got it in him--the heroic and the beautiful, and the reverence for the great poets or for the saints--is a fool and a Don Quixote. Good. And it has been just the same for me, my friend. I was a gifted girl. I was meant to live up to a high standard, to expect much of myself and do great things. I could have played a great part. I could have been the wife of a king, the beloved of a revolutionary, the sister of a genius, the mother of a martyr. And life has allowed me just this, to be a courtesan of fairly good taste, and even that has been hard enough. That is how things have gone with me. For a while I was inconsolable and for a long time I put the blame on myself. Life, thought I, must in the end be in the right, and if life scorned my beautiful dreams, so I argued, it was my dreams that were stupid and wrong headed. But that did not help me at all. And as I had good eyes and ears and was a little inquisitive too, I took a good look at this so-called life and at my neighbors and acquaintances, fifty or so of them and their destinies, and then I saw you. And I knew that my dreams had been right a thousand times over, just as yours had been. It was life and reality that were wrong. It was as little right that a woman like me should have no other choice than to grow old in poverty and in a senseless way at a typewriter in the pay of a money-maker, or to marry such a man for his money's sake, or to become some kind of drudge, as for a man like you to be forced in his loneliness and despair to have recourse to a razor. Perhaps the trouble with me was more material and moral and with you more spiritual--but it was the same road. Do you think I can't understand your horror of the fox trot, your dislike of bars and dancing floors, your loathing of jazz and the rest of it? I understand it only too well, and your dislike of politics as well, your despondence over the chatter and irresponsible antics of the parties and the press, your despair over the war, the one that has been and the one that is to be, over all that people nowadays think, read and build, over the music they play, the celebrations they hold, the education they carry on. You are right, Steppenwolf, right a thousand times over, and yet you must go to the wall. You are much too exacting and hungry for this simple, easygoing and easily contented world of today. You have a dimension too many. Whoever wants to live and enjoy his life today must not be like you and me. Whoever wants music instead of noise, joy instead of pleasure, soul instead of gold, creative work instead of business, passion instead of foolery, finds no home in this trivial world of ours--

There are quiet places also in the mind,” he said, meditatively. “But we build bandstand and factories on them. Deliberately—to put a stop to the quietness. We don’t like the quietness. All the thoughts, all the preoccupation in my head—round and round continually.” He made a circular motion with his hands. “And the jazz bands, the music hall songs, the boys shouting the news. What’s it all for? To put an end to the quiet, to break it up and disperse it, to pretend at any cost it isn’t there. Ah, but it is, it is there, in spite of everything, at the back of everything. Lying awake at night, sometimes—not restlessly, but serenely, waiting for sleep—the quiet re-establishes itself, piece by piece; all the broken bits, all the fragments of it we’ve been so busily dispersing all day long. It re-establishes itself, an inward quiet, like this outward quiet of grass and trees. It fills one, it grows –a crystal quiet, a growing expanding crystal. It grows, it becomes more perfect; it is beautiful and terrifying, yes, terrifying, as well as beautiful. For one’s alone in the crystal and there’s no support from outside, there’s nothing external and important, nothing external and trivial to pull oneself up by or to stand up, superiorly, contemptuously, so that one can look down. There’s nothing to laugh at or feel enthusiastic about. But the quiet grows and grows. Beautifully and unbearably. And at last you are conscious of something approaching; it is almost a faint sound of footsteps. Something inexpressibly lovely and wonderful advances through the crystal, nearer, nearer. And oh, inexpressibly terrifying. For if it were to touch you, if it were to seize and engulf you, you’d die; all the regular habitual, daily part of you would die. There would be and end of bandstands and whizzing factories, and one would have to begin living arduously in the quiet, arduously n some strange unheard-of manner. Nearer, nearer come the steps; but one can’t face the advancing thing. One daren’t. It’s too terrifying; it’s too painful to die. Quickly, before it is too late, start the factory wheels, bang the drum, blow up the saxophone. Think of the women you’d like to sleep with, the schemes for making money, the gossip about your friends, the last outrage of the politicians. Anything for a diversion. Break the silence, smash the crystal to pieces. There, it lies in bits; it is easily broken, hard to build up and easy to break. And the steps? Ah, those have taken themselves off, double quick. Double quick, they were gone at the flawing of the crystal. And by this time the lovely and terrifying thing is three infinities away, at least. And you lie tranquilly on your bed, thinking of what you’d do if you had ten thousand pounds and of all the fornications you’ll never commit.

If in the past people would listen to music out of love for music, nowadays it roars everywhere and all the time, "regardless whether we want to hear it", it roars from loudspeakers, in cars, in restaurants, in elevators, in the streets, in waiting rooms, in gyms, in the earpieces of Walkmans, music rewritten, reorchestrated, abridged, and stretched out, fragments of rock, of jazz, of opera, a flood of everything jumbled together so that we don't know who composed it (music become noise is anonymous), so that we can't tell beginning from end (music become noise has no form): sewage-water music in which music is dying.

If we had had jazz, would we have survived differently? If we had known our story was a blues with a refrain running through it, would we have lifted our heads, said to each other, This is memory again and again until the living made sense? Where would we be now if we had known there was a melody to our madness? Because even though Sylvia, Angela, Gigi, and I came together like a jazz improv - half notes tentatively moving toward one another until the ensemble found its footing and the music felt like it had always been playing - we didn't have jazz to know this was who we were. We had the Top 40 music of the 1970s trying to tell our story. It never quite figured us out.

You both love Tolstoy and Dostoyevsky, Hawthorne and Melville, Flaubert and Stendahl, but at that stage of your life you cannot stomach Henry James, while Gwyn argues that he is the giant of giants, the colossus who makes all other novelists look like pygmies. You are in complete harmony about the greatness of Kafka and Beckett, but when you tell her that Celine belongs in their company, she laughs at you and calls him a fascist maniac. Wallace Stevens yes, but next in line for you is William Carlos Williams, not T.S. Eliot, whose work Gwyn can recite from memory. You defend Keaton, she defends Chaplin, and while you both howl at the sight of the Marx Brothers, your much-adored W.C. Fields cannot coax a single smile from her. Truffaut at his best touches you both, but Gwyn finds Godard pretentious and you don't, and while she lauds Bergman and Antonioni as twin masters of the universe, you reluctantly tell her that you are bored by their films. No conflicts about classical music, with J.S. Bach at the top of the list, but you are becoming increasingly interested in jazz, while Gwyn still clings to the frenzy of rock and roll, which has stopped saying much of anything to you. She likes to dance, and you don't. She laughs more than you do and smokes less. She is a freer, happier person than you are, and whenever you are with her, the world seems brighter and more welcoming, a place where your sullen, introverted self can almost begin to feel at home.

I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the reading of whole volumes of philosophy on the subject could do. I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul, - and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart." I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

A few minutes after discovering we had a goal but no plan, Brent was laughing heartily at a pathetic joke I had made. It reminded me of the first day on campus when I had thought his laughter sounded like a melody. It did now, even more so. It was music, beautiful, in a manly way, like a sensual, slow jazz. I loved jazz. “Jazz, huh?” Brent asked, his voice suddenly husky. “Uh . . . what?” “My laugh reminds you of jazz? Is there anything about me you don’t find attractive?” He rubbed his hand over his lips trying to cover his smirk. “So tell me, how much do you love jazz?” I’m sure my face was pinker than the inside of a watermelon. “I didn’t say any of that.” “You didn’t have to say it, Yara, I could hear it.” Brent tapped the side of his head. “I can hear your thoughts.” “You’re not serious.” “Oh, but I am,” he said, completely straight-faced.

I've always thought you can judge the quality of a villain by his elevator music. Smooth jazz? Devious villainy with an inferiority complex. Pop hits? Ageing villainy trying desperately to be hip. Nero had chosen soft classical, as in the lobby. Oh, well played. this was self-assured villainy. Villainy that said I already own everything and have all the power. Relax. You're going to die in a minute, so you might as well enjoy this soothing string quartet.

I don't really know how dating works," Jared told her. "High school for me was mostly musical numbers. That's how it is in the States, you've seen the movies. Every time someone had an emotional dilemma or epiphany, they would burst into song, and we would all have to break out into perfectly choreographed dance sequences. It took a lot of intensive training. So many jazz squares, no time for love.

On the platform in the opposite corner of the bar, the jazz ensemble was playing a perky little tune. Admittedly, when the Count had first encountered jazz, he hadn’t much of an affinity for it. He had been raised to appreciate music of sentiment and nuance, music that rewarded patience and attention with crescendos and diminuendos, allegros and adagios artfully arranged over four whole movements – not a fistful of notes crammed higgledy-piggledy into thirty measures. And yet… And yet, the art form had grown on him. Like the American correspondents, jazz seemed a naturally gregarious force – one that was a little unruly and prone to say the first thing that popped into its head, but generally of good humor and friendly intent. In addition, it seemed decidedly unconcerned with where it had been or where it was going – exhibiting somehow simultaneously the confidence of the master and the inexperience of the apprentice. Was there any wonder that such an art had failed to originate in Europe?

Those who have not lived in New Orleans have missed an incredible, glorious, vital city--a place with an energy unlike anywhere else in the world, a majority-African American city where resistance to white supremacy has cultivated and supported a generous, subversive, and unique culture of vivid beauty. From jazz, blues, and and hip-hop to secondlines, Mardi Gras Indians, jazz funerals, and the citywide tradition of red beans and rice on Monday nights, New Orleans is a place of art and music and food and traditions and sexuality and liberation.

I remember once I asked Wayne for the time," Miller told Mercer. "He started talking to me about the cosmos and how time is relative." Miller and [Wayne] Shorter were waiting somewhere -- an airport, a train station, a hotel. The band's keyboardist, Joe Zawinul, who took charge of such matters as what the road crew was supposed to do and when, set Miller straight. "You don't ask Wayne shit like that," he snapped. "It's 7:06 p.m." [p.1]

We have gone sick by following a path of untrammelled rationalism, male dominance, attention to the visible surface of things, practicality, bottom-line-ism. We have gone very, very sick. And the body politic, like any body, when it feels itself to be sick, it begins to produce antibodies, or strategies for overcoming the condition of dis-ease. And the 20th century is an enormous effort at self-healing. Phenomena as diverse as surrealism, body piercing, psychedelic drug use, sexual permissiveness, jazz, experimental dance, rave culture, tattooing, the list is endless. What do all these things have in common? They represent various styles of rejection of linear values. The society is trying to cure itself by an archaic revival, by a reversion to archaic values. So when I see people manifesting sexual ambiguity, or scarifying themselves, or showing a lot of flesh, or dancing to syncopated music, or getting loaded, or violating ordinary canons of sexual behaviour, I applaud all of this; because it's an impulse to return to what is felt by the body -- what is authentic, what is archaic -- and when you tease apart these archaic impulses, at the very centre of all these impulses is the desire to return to a world of magical empowerment of feeling. And at the centre of that impulse is the shaman: stoned, intoxicated on plants, speaking with the spirit helpers, dancing in the moonlight, and vivifying and invoking a world of conscious, living mystery. That's what the world is. The world is not an unsolved problem for scientists or sociologists. The world is a living mystery: our birth, our death, our being in the moment -- these are mysteries. They are doorways opening on to unimaginable vistas of self-exploration, empowerment and hope for the human enterprise. And our culture has killed that, taken it away from us, made us consumers of shoddy products and shoddier ideals. We have to get away from that; and the way to get away from it is by a return to the authentic experience of the body -- and that means sexually empowering ourselves, and it means getting loaded, exploring the mind as a tool for personal and social transformation. The hour is late; the clock is ticking; we will be judged very harshly if we fumble the ball. We are the inheritors of millions and millions of years of successfully lived lives and successful adaptations to changing conditions in the natural world. Now the challenge passes to us, the living, that the yet-to-be-born may have a place to put their feet and a sky to walk under; and that's what the psychedelic experience is about, is caring for, empowering, and building a future that honours the past, honours the planet and honours the power of the human imagination. There is nothing as powerful, as capable of transforming itself and the planet, as the human imagination. Let's not sell it straight. Let's not whore ourselves to nitwit ideologies. Let's not give our control over to the least among us. Rather, you know, claim your place in the sun and go forward into the light. The tools are there; the path is known; you simply have to turn your back on a culture that has gone sterile and dead, and get with the programme of a living world and a re-empowerment of the imagination. Thank you very, very much.

She realized now that she had been expecting old-fashioned instruments – pipes, fifes, fiddles and tinny drums. Instead there came the cocksure, brassy warble of a saxophone, the blare of a cornet and the squeak and trill of a clarinet being made to work for its living. Not-Triss had heard jazz with neatly wiped shoes and jazz with gritty soles and a grin. And this too was jazz, but barefoot on the grass and blank-eyed with bliss, its musical strands irregular as wind gusts and unending as ivy vines.

The last werewolf tripped over Raphael Santiago’s foot. Alec hastily hit him in the back of the head with the hilt of his seraph blade, and the werewolf stayed down. “That was an accident,” said Raphael, with Lily and Elliott sticking close behind him. “He got in my way as I was trying to leave.” “Okay,” Alec panted. He wiped dust and sweat out of his eyes. Bat the DJ staggered toward them, claws out, and Alec flipped his seraph blade so he was holding the hilt again. “Someone dropped a piece of roof on me,” Bat told him, blinking in a way that was more owlish than wolfish. “Inconsiderate.” Alec realized Bat was not so much on a murderous out-of-control rampage as mildly concussed. “Easy there,” he said, as Bat tumbled against his chest. He looked around for the most trustworthy person, for someone to be on his team. He took a gamble and dumped Bat into Lily’s arms. “Watch him for me, will you?” he asked. “Make sure he gets out all right.” “Put that werewolf down immediately, Lily,” Raphael ordered. “It really hurts that you would say that,” Bat muttered, and shut his eyes. Lily considered Bat’s head, pillowed on her lavender bosom. “I don’t want to put him down,” she announced. “The Shadowhunter gave this DJ to me.” Bat opened one eye. “Do you like music?” “I do,” said Lily. “I like jazz.” “Cool,” said Bat. Raphael threw up his hands. “This is ridiculous! Fine,” he snapped. “Fine. Let’s just vacate the collapsing mansion, shall we? Can we all agree on that one fun, non-suicidal activity?

Jazz presumes that it would be nice if the four of us--simpatico dudes that we are--while playing this complicated song together, might somehow be free and autonomous as well. Tragically, this never quite works out. At best, we can only be free one or two at a time--while the other dudes hold onto the wire. Which is not to say that no one has tried to dispense with wires. Many have, and sometimes it works--but it doesn't feel like jazz when it does. The music simply drifts away into the stratosphere of formal dialectic, beyond our social concerns. Rock-and-roll, on the other hand, presumes that the four of us--as damaged and anti-social as we are--might possibly get it to-fucking-gether, man, and play this simple song. And play it right, okay? Just this once, in tune and on the beat. But we can't. The song's too simple, and we're too complicated and too excited. We try like hell, but the guitars distort, the intonation bends, and the beat just moves, imperceptibly, against our formal expectations, whetehr we want it to or not. Just because we're breathing, man. Thus, in the process of trying to play this very simple song together, we create this hurricane of noise, this infinitely complicated, fractal filigree of delicate distinctions. And you can thank the wanking eighties, if you wish, and digital sequencers, too, for proving to everyone that technologically "perfect" rock--like "free" jazz--sucks rockets. Because order sucks. I mean, look at the Stones. Keith Richards is always on top of the beat, and Bill Wyman, until he quit, was always behind it, because Richards is leading the band and Charlie Watts is listening to him and Wyman is listening to Watts. So the beat is sliding on those tiny neural lapses, not so you can tell, of course, but so you can feel it in your stomach. And the intonation is wavering, too, with the pulse in the finger on the amplified string. This is the delicacy of rock-and-roll, the bodily rhetoric of tiny increments, necessary imperfections, and contingent community. And it has its virtues, because jazz only works if we're trying to be free and are, in fact, together. Rock-and-roll works because we're all a bunch of flakes. That's something you can depend on, and a good thing too, because in the twentieth century, that's all there is: jazz and rock-and-roll. The rest is term papers and advertising.

At some time all cities have this feel: in London it's at five or six on a winer evening. Paris has it too, late, when the cafes are closing up. In New York it can happen anytime: early in the morning as the light climbs over the canyon streets and the avenues stretch so far into the distance that it seems the whole world is city; or now, as the chimes of midnight hang in the rain and all the city's longings acquire the clarity and certainty of sudden understanding. The day coming to an end and people unable to evade any longer the nagging sense of futility that has been growing stronger through the day, knowing that they will feel better when they wake up and it is daylight again but knowing also that each day leads to this sense of quiet isolation. Whether the plates have been stacked neatly away or the sink is cluttered with unwashed dishes makes no difference because all these details--the clothes hanging in the closet, the sheets on the bed--tell the same story--a story in which they walk to the window and look out at the rain-lit streets, wondering how many other people are looking out like this, people who look forward to Monday because the weekdays have a purpose which vanishes at the weekend when there is only the laundry and the papers. And knowing also that these thoughts do not represent any kind of revelation because by now they have themselves become part of the same routine of bearable despair, a summing up that is all the time dissolving into everyday. A time in the day when it is possible to regret everything and nothing in the same breath, when the only wish of all bachelors is that there was someone who loved them, who was thinking of them even if she was on the other side of the world. When a woman, feeling the city falling damp around her, hearing music from a radio somewhere, looks up and imagines the lives being led behind the yellow-lighted windows: a man at his sink, a family crowded together around a television, lovers drawing curtains, someone at his desk, hearing the same tune on the radio, writing these words.

The vocal chorus will be along shortly: I like that part especially and the abrupt manner in which it throws itself forward, like a cliff against the sea. For the moment, the jazz is playing; there is no melody, only notes, a myriad of tiny jolts. They know no rest, an inflexible order gives birth to them and destroys them without even giving them time to recuperate and exist for themselves. They race, they press forward, they strike me a sharp blow in passing and are obliterated. I would like to hold them back, but I know if I succeeded in stopping one it would remain between my fingers only as a raffish languishing sound. I must accept their death; I must even will it. I know few impressions stronger or more harsh.

But, Cass, ask yourself, look out and ask yourself – wouldn’t you hate all white people if they kept you in prison here?’ They were rolling up startling Seventh Avenue. The entire population seemed to be in the streets, draped, almost, from lamp-posts, stoops, and hydrants, and walking through the traffic as though it were not there. ‘Kept you here, and stunted you and starved you, and made you watch your mother and father and sister and lover and brother and son and daughter die or go mad or go under, before your very eyes? And not in a hurry, like from one day to the next, but, every day, every day, for years, for generations? Shit. They keep you here because you’re black, while they go around jerking themselves off with all the jazz about the land of the free and the home of the brave. And they want you to jerk yourself off with the same music, too, only keep your distance. Some days, honey, I wish I could turn myself into one big fist and grind this miserable country to powder. Some days, I don’t believe it has a right to exist. Now, you’ve never felt like that, and Vivaldo’s never felt like that. Vivaldo didn’t want to know my brother was dying because he doesn’t want to know that my brother would still be alive if he hadn’t been born black.

When we strike a balance between the challenge of an activity and our skill at performing it, when the rhythm of the work itself feels in sync with our pulse, when we know that what we're doing matters, we can get totally absorbed in our task. That is happiness. The life coach Martha Beck asks new potential clients, "Is there anything you do regularly that makes you forget what time it is?" That forgetting -- that pure absorption -- is what the psychologist Mihaly Csikzentmihalyi calls "flow" or optimal experience. In an interview with Wired magazine, he described flow as "being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you're using your skills to the utmost." In a typical day that teeters between anxiety and boredom, flow experiences are those flashes of intense living -- bright against the dull. These optimal experiences can happen when we're engaged in work paid and unpaid, in sports, in music, in art. The researchers Maria Allison and Margaret Duncan have studied the role of flow in women's lives and looked at factors that contributed to what they call "antiflow." Antiflow was associated with repetitive household tasks, repetitive tasks at work, unchallenging tasks, and work we see as meaningless. But there's an element of chaos when it comes to flow. Even if we're doing meaningful and challenging work, that sense of total absoprtion can elude us. We might get completely and beautifully lost in something today, and, try as we might to re-create the same conditions tomorrow, our task might jsut feel like, well, work. In A Life of One's Own, Marion Milner described her effort to re-create teh conditions of her own recorded moments of happiness, saying, "Often when I felt certain that I had discovered the little mental act which produced the change I walked on air, exulting that I had found the key to my garden of delight and could slip through the door whenever I wished. But most often when I came again the place seemed different, the door overgrown with thorns and my key stuck in the lock. It was as if the first time I had said 'abracadabra' the door had opened, but the next time I must use a different word. (123-124).

He died at forty-two. I was there to collect his talent. I was there at the hospital deathbed of my beloved Billie Holiday, just forty-four, her liver destroyed by drinking; I was there inside the hotel room of Charlie Parker, my singular jazz saxophonist, who died in his midthirties, but whose body was so ravaged by drugs the coroners thought he was sixty. Tommy Dorsey, the bandleader, choked in his sleep when he was fifty-one, too deep in pills to awaken. Johnny Allen Hendrix (you called him Jimi) swallowed a handful of barbiturates and expired. He was twenty-seven. It is not new, this idea that a purer art awaits you in a substance. But it is naive. I existed before the first grapes were fermented. Before the first whiskey was distilled. Be it opium or absinthe, marijuana or heroin, cocaine or ecstasy or whatever will follow, you may alter your state, but you will not alter this truth: I am Music. I am here inside you. Why would I hide behind a powder or a vapor? Do you think me so petty?

The thing in jazz that will get Bix Beiderbecke out of his bed at two o’clock in the morning, pick that cornet up and practice into the pillow for another two or three hours, or that would make Louis Armstrong travel around the world for fifty plus years non stop, just get up out of his sick bed, crawl up on the bandstand and play, the thing that would make Duke Ellington, the thing that would make Thelonious Monk, Miles Davis, Charlie Parker, Mary Lou Williams, the thing that would make all of these people give their lives for this, and they did give their lives, is that it gives us a glimpse into what America is going to be when it becomes itself. And this music tells you that it will become itself. And when you get a taste of that, there’s just nothing else you’re going to taste that’s as sweet.

Q: Assume everything about your musical tastes was reversed overnight. Everything you once loved, you now hate; everything you once hated, you now love. For example, if your favorite band has always been R.E.M., they will suddenly sound awful to you; they will become the band you dislike the most. By the same token, if you’ve never been remotely interested in the work of Yes and Jethro Tull, those two groups will instantly seem fascinating. If you generally dislike jazz today, you’ll generally like jazz tomorrow. If you currently consider the first album by Veruca Salt to be slightly above average, you will abruptly find it to be slightly below average. Everything will become its opposite, but everything will remain in balance (and the rest of your personality will remain unchanged). So—in all likelihood—you won’t love music any less (or any more) than you do right now. There will still be artists you love and who make you happy; they will merely be all the artists you currently find unlistenable. Now, I concede that this transformation would make you unhappy. But explain why.

Sometimes it is the other way around. A white person is set down in our midst, but the contrast is just as sharp for me. For instance, when I sit in the drafty basement that is The New World Cabaret with a white person, my color comes. We enter chatting about any little nothing that we have in common and are seated by the jazz waiters. In the abrupt way that jazz orchestras have, this one plunges into a number. It loses no time in circumlocutions, but gets right down to business. It constricts the thorax and splits the heart with its tempo and narcotic harmonies. This orchestra grows rambunctious, rears on its hind legs and attacks the tonal veil with primitive fury, rending it, clawing it until it breaks through to the jungle beyond. I follow those heathen--follow them exultingly. I dance wildly inside myself; I yell within, I whoop; I shake my assegai above my head, I hurl it true to the mark yeeeeooww! I am in the jungle and living in the jungle way. My face is painted red and yellow and my body is painted blue. My pulse is throbbing like a war drum. I want to slaughter something--give pain, give death to what, I do not know. But the piece ends. The men of the orchestra wipe their lips and rest their fingers. I creep back slowly to the veneer we call civilization with the last tone and find the white friend sitting motionless in his seat, smoking calmly. "Good music they have here," he remarks, drumming the table with his fingertips. Music. The great blobs of purple and red emotion have not touched him. He has only heard what I felt. He is far away and I see him but dimly across the ocean and the continent that have fallen between us. He is so pale with his whiteness then and I am so colored.

In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.