“
Comedians and jazz musicians have been more comforting and enlightening to me than preachers or politicians or philosophers or poets or painters or novelists of my time. Historians in the future, in my opinion, will congratulate us on very little other than our clowning and our jazz.
”
”
Kurt Vonnegut Jr. (Palm Sunday: An Autobiographical Collage)
“
The memory of things gone is important to a jazz musician. Things like old folks singing in the moonlight in the back yard on a hot night or something said long ago.
”
”
Louis Armstrong
“
And that's the soulful thing about playing: you offer something to somebody. You don't know if they'll like it, but you offer it.
”
”
Wynton Marsalis (To a Young Jazz Musician: Letters from the Road)
“
Well, I’ve been a musician my whole life. When I was two, I would sing the theme from Star Wars in my crib; my mom taped it for proof. Then, when I was five, I asked for a violin. No one knew why I would want one, but my wish was granted and I ended up a classically trained fiddler by age 12. The only problem with that was, when you’re a classical violinist, everybody expects you to be satisfied with playing Tchaikovsky for the rest of your life, and saying you want to play jazz, rock, write songs, sing your songs, hook up your fiddle to a guitar amp, sleep with your 4-track recorder, mess around with synths, dress like Tinkerbell in combat boots, AND play Tchaikovsky is equivalent to spitting on the Pope.
”
”
Emilie Autumn
“
The jazz musician is a creative artist, the classical musician is a re-creative artist.
”
”
David Epstein (Range: Why Generalists Triumph in a Specialized World)
“
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.
”
”
Anaïs Nin (The Diary of Anaïs Nin, Vol. 5: 1947-1955)
“
So for all that we might speak words in each other's vicinity, this could never develop into anything that could be called a conversation. It was as though we were speaking in different languages. If the Dalai Lama were on his deathbed and the jazz musician Eric Dolphy were to try to explain to him the importance of choosing one's engine oil in accordance with changes in the sound of the bass clarinet, that exchange might have been more worthwhile and effective than my conversations with Noboru Wataya.
”
”
Haruki Murakami (The Wind-Up Bird Chronicle)
“
It’s easier for a jazz musician to learn to play classical literature than for a classical player to learn how to play jazz,” he said. “The jazz musician is a creative artist, the classical musician is a re-creative artist.
”
”
David Epstein (Range: Why Generalists Triumph in a Specialized World)
“
Growing up, I'd already decided I wanted to be a beatnik. A Bohemian poet, I thought. Or a musician. Maybe an artist. I'd dress in black turtlenecks and smoke Gitanes. I'd listen to cool jazz in clubs, getting up to read devastating truths from my notebook, leaning against the microphone, cigarette dangling from my hand.
”
”
Charles de Lint (Dharma)
“
Ducks quack like a cacophony of saxophone. At least, they sound like how I play jazz. If you're looking for an elevator musician, I am FOR HIRE.
”
”
Jarod Kintz (BearPaw Duck And Meme Farm presents: Two Ducks Brawling Is A Pre-Pillow Fight)
“
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.
”
”
Jarod Kintz (BearPaw Duck And Meme Farm presents: Two Ducks Brawling Is A Pre-Pillow Fight)
“
Music is always for the listener, but the first listener is always the musician
”
”
Wynton Marsalis
“
CIA Interrogator:
Have you ever met any jazz musicians you would describe, or who would describe themselves, as anarchists?
Bartholomew 'Barley' Scott Blair:
Hmmm... ah, there was a trombone player, Wilfred Baker.
Bartholomew 'Barley' Scott Blair:
He's the only jazz musician I can think of who is completely devoid of anarchist tendencies.
”
”
John Le Carré (The Russia House)
“
In a conversation with the master jazz musician and Pulitzer Prize–winning composer Wynton Marsalis, he told me, “You need to have some restrictions in jazz. Anyone can improvise with no restrictions, but that’s not jazz. Jazz always has some restrictions. Otherwise it might sound like noise.” The ability to improvise, he said, comes from fundamental knowledge, and this knowledge “limits the choices you can make and will make
”
”
Sheena Iyengar (The Art of Choosing)
“
Angel, you got checkout girls in these here grocery stores cain’t feed their own kids right, jazz musicians workin’ for the post office because music don’t pay the charge of admission to a nightclub. You might love your work but one day you wake up and find that your work don’t love you.
”
”
Walter Mosley (The Further Tales of Tempest Landry)
“
You see it in jazz musicians, who never rehearse exactly what they do, but just seem to know when to take center stage, when to fade into the background. When jazz artists were compared with classical musicians in brain function, they showed more neural indicators of self-awareness.15 As one jazz artist put it, “In jazz you have to tune in to how your body is feeling so you know when to riff.
”
”
Daniel Goleman (Focus: The Hidden Driver of Excellence)
“
If the Dalai Lama were on his deathbed and the jazz musician Eric Dolphy were to try to explain to him the importance of choosing one’s engine oil in accordance with changes in the sound of the bass clarinet, that exchange might have been more worthwhile and effective than my conversations with Noboru Wataya.
”
”
Haruki Murakami (The Wind-Up Bird Chronicle)
“
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.
”
”
Wynton Marsalis
“
perhaps the answer is simply one:
one female angel dancing alone in her stocking feet,
a small jazz combo working in the background.
She sways like a branch in the wind, her beautiful
eyes closed, and the tall thin bassist leans over
to glance at his watch because she has been dancing
forever, and now it is very late, even for musicians.
”
”
Billy Collins (Sailing Alone Around the Room: New and Selected Poems)
“
The fact that so many books still name the Beatles as "the greatest or most significant or most influential" rock band ever only tells you how far rock music still is from becoming a serious art. Jazz critics have long recognized that the greatest jazz musicians of all time are Duke Ellington and John Coltrane, who were not the most famous or richest or best sellers of their times, let alone of all time. Classical critics rank the highly controversial Beethoven over classical musicians who were highly popular in courts around Europe. Rock critics, instead, are still blinded by commercial success. The Beatles sold more than anyone else (not true, by the way), therefore they must have been the greatest. Jazz critics grow up listening to a lot of jazz music of the past, classical critics grow up listening to a lot of classical music of the past. Rock critics are often totally ignorant of the rock music of the past, they barely know the best sellers.
”
”
Piero Scaruffi
“
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]
”
”
Ben Ratliff (The Jazz Ear: Conversations Over Music)
“
As recently as the twentieth century, some cultures retained religious prohibitions asserting the “uncleanliness” of believers eating at the same table as musicians.
”
”
Ted Gioia (The ^AHistory of Jazz)
“
I was a wise-a** college student of twenty at the time and a precocious musician, with somewhat of that screw-you-I'm-a-jazz-player attitude.
”
”
Gene Hull (Hooked on a Horn: Memoirs of a Recovered Musician)
“
If my name were Nubby Blues, I wouldn't be a jazz musician, I'd be a disabled Vietnam vet on welfare.
”
”
Jarod Kintz (This Book is Not for Sale)
“
And the thing about jazz, through all the business involved in practicing and improvement, it's always sweet: the improvement that you notice in the ability to express yourself, the feeling of playing, pushing yourself out into an open space through a sound, man. That's an unbelievable feeling, an uplifting feeling of joy to be able to express the range of what you feel and see, have felt and have seen. A lot of this has nothing to do with you. It comes from another time, another space. To be able to channel those things and then project them though an instrument, that's something that brings unbelievable joy.
”
”
Wynton Marsalis (To a Young Jazz Musician: Letters from the Road)
“
Dali’s Reclining Woman Wearing a Chemise looks like a dead slaughtered doll, and I can see preying eagles, broken arrows, and jazz musicians in Jackson Pollock, and because I believe that Man Ray and Duchamp were lovers.
”
”
Dionne Brand (What We All Long For)
“
Cats make cuddly pets, but you can’t take them for walks. That’s why I love my pet waterfall, which also makes the splashiest snuggles. However, neither cats nor waterfalls lay eggs, which makes ducks the superior jazz musicians.
”
”
Jarod Kintz (Music is fluid, and my saxophone overflows when my ducks slosh in the sounds I make in elevators.)
“
This is a different way of thinking about human beings," Pentland says. "Individuals aren't really individuals. They're more like musicians in a jazz quartet, forming a web of unconscious actions and reactions to complement others in the group. You don't look at the informational content of the messages; you look at patterns that show how the message is being sent. Those patterns contain many signals that tell us about the relationship and what's really going on beneath the surface.
”
”
Daniel Coyle (The Culture Code: The Secrets of Highly Successful Groups)
“
Phrases offered to the grief-stricken, such as “time heals all wounds” and “the day will come when you reach closure” irritated him, and there were times when he sat silent, seeming half-buried in some sediment of sorrow.
“Closure? When someone beloved dies there is no ‘closure.’”
He disliked television programs featuring tornado chasers squealing “Big one! Big one!” and despised the rat-infested warrens of the Internet, riddled with misinformation and chicanery. He did not like old foreign movies where, when people parted, one stood in the middle of the road and waved. He thought people with cell phones should be immolated along with those who overcooked pasta. Calendars, especially the scenic types with their glowing views of a world without telephone lines, rusting cars or burger stands, enraged him, but he despised the kittens, motorcycles, famous women and jazz musicians of the special-interest calendars as well.
“Why not photographs of feral cats? Why not diseases?” he said furiously. Wal-Mart trucks on the highway received his curses and perfumed women in elevators invited his acid comment that they smelled of animal musk glands. For years he had been writing an essay entitled “This Land Is NOT Your Land.
”
”
Annie Proulx (That Old Ace in the Hole)
“
Pythagoras felt that specific notes affected people to very minute gradations of feeling. And every songwriter, I think, knows that D is a great key for a long song. It just happens to work. And B flat is always a great jump key for jazz.
~ Janis Ian
”
”
Paul Zollo (Songwriters On Songwriting)
“
I loved men and was going mad with suppressed desire. It pushed me into a series of affairs with dubious jazz musicians. Sex was not what I imagined. It was tension, scent and prosaic misalliance. It was sweet and sad revelation, and all expectation dashed.
”
”
James Ellroy (Perfidia)
“
I was enraptured by Elaine’s tales about Billie and all the other famous jazz musicians she had known. For instance, she told me that during Billie’s later years, she had become fed up with white people and refused to sing “Strange Fruit” to predominantly white audiences.
”
”
Jenifer Lewis (The Mother of Black Hollywood: A Memoir)
“
Thinking would seem to be a completely solitary activity. And so it is for the other animal species. But for humans, thinking is like a jazz musician improvising a novel riff in the privacy of his own room. It is a solitary activity all right, but on an instrument made by others for that general purpose, after years of playing with and learning from other practitioners, in a musical genre with a rich history of legendary riffs, for an imagined audience of jazz aficionados. Human thinking is individual improvisation enmeshed in a sociocultural matrix.
”
”
Michael Tomasello (A Natural History of Human Thinking)
“
You’re like a pair of jazz musicians, forever improvising. Or perhaps you are not musicians, but your love manifests in the music. Sometimes, your head tucked into her neck, you can feel her heartbeat thudding like a kick drum. Your smile a grand piano, the glint in her eye like the twinkle of hands caressing ivory keys. The rhythmic strum of a double bass the inert grace she has been blessed with, moving her body in ways which astound. A pair of soloists in conversations so harmonious, one struggles to separate. You are not the musicians but the music.
”
”
Caleb Azumah Nelson (Open Water)
“
You're like a pair of jazz musicians, forever improvising. Or perhaps you are not musicians, but your love manifests in the music. Sometimes, your head tucked into her neck, you can feel her heartbeat thudding like a kick drum. Your smile a grand piano, the glint in her eye like the twinkle of hands caressing ivory keys. The rhythmic strum of a double bass the inert grace she has been blessed with, moving her body in ways which astound. A pair of soloists in conversations so harmonious, one struggles to separate. You are not the musicians but the music.
”
”
Caleb Azumah Nelson (Open Water)
“
To address another human was one thing, but a singing voice was capable of so much more. Romance made you weak and love was about suffering. I wanted what the jazz musicians were looking for: the supreme. I wanted my voice to take life by the throat and rattle it until it made sense.
”
”
Chrissie Hynde (Reckless: My Life as a Pretender)
“
Nature has evolved to be the inventor of complexity. Just as a jazz musician embroiders around a theme, thus improvising new melodic phrases according to his inspiration and the public's reactions, nature plays spontaneously with the physical laws that were fixed at the start of the universe. It uses them to create novelty9
”
”
Matthieu Ricard (The Quantum and the Lotus: A Journey to the Frontiers Where Science and Buddhism Meet)
“
When stealing from other players, an older musician wisely advised me, choose a different instrument from your own, and people won’t notice the theft.
”
”
Ted Gioia (How to Listen to Jazz)
“
These babies ain’t just guitars; these babies are living, breathing instruments.
”
”
Brenda Sutton Rose
“
When you scratch these guitars, they bleed.
”
”
Brenda Sutton Rose
“
A real musician ain’t gonna choose his own guitar like an evil master choosing his slave. The guitar will choose his master and when he does, you’ll know it.
”
”
Brenda Sutton Rose
“
Apollo, you remember what this felt like, for musicians first experiencing the baptism of fire that was jazz.
”
”
Julie Berry (Lovely War)
“
After Hiroshima, the musicians understood as early as anyone that Truman's bomb changed everything and only scat and bebop could say how.
”
”
Toni Morrison (Home)
“
It's like someone reviewing a really good jazz record and complaining that the musicians spend most of the time ignoring the melodies.
”
”
Declan O' Driscoll
“
Don’t do that again” may well be the most potent jazz mantra, a guidepost for the musician who seeks the highest peaks of artistic transcendence.
”
”
Ted Gioia (How to Listen to Jazz)
“
A wise person knows when and how to make the exception to every rule. A wise person knows how to improvise. Real-world problems are often ambiguous and ill-defined and the context is always changing. A wise person is like a jazz musician -- using the notes on the page, but dancing around them, inventing combinations that are appropriate for the situation and the people at hand.
”
”
Barry Schwartz
“
Western musicians had to choose between creating sounds and playing notes—and they opted for the latter. But African musicians never got enlightened (or is corrupted the better word?) by Pythagorean thinking.
”
”
Ted Gioia (How to Listen to Jazz)
“
Most of us lead or are led by lives of patterned regularity. Diurnally, surprises are relatively few. And except for economic or physical uncertainties, we neither face nor court significant degrees of risk because a fundamental drive in the vast majority of us is toward the attainment of as much security as is possible.
In this sense, jazzmen, of all musicians, are our surrogates for the unpredictable, our paladins of constant change.
”
”
Nat Hentoff (Jazz Is)
“
It is no wonder that so much of the search for identity, among American Negroes, was championed by jazz musicians. Long before the modern essayists and scholars wrote of racial identity as a problem for a multiracial world, musicians were returning to their roots to affirm that which was stirring within their souls. Much of the power of our Freedom Movement in the United States has come from the music. It has strengthened us with its sweet rhythms when courage began to fail. It has calmed us with its rich harmonies when spirits were down. And now, Jazz is exported to the world. For, in a particular struggle of the Negro in America, there is something akin to the universal struggle of modern man. Everybody has
the Blues. Everybody longs for meaning. Everybody
needs to clap hands and be happy. Everybody longs for faith. In music, especially this broad category called jazz, there is a stepping-stone towards all these.
”
”
Martin Luther King Jr.
“
I don’t mean to compare myself to a couple of artists I unreservedly admire—Miles Davis and Ray Charles—but I would like to think that some of the people who liked my book responded to it in a way similar to the way they respond when Miles and Ray are blowing. These artists, in their very different ways, sing a kind of universal blues, they speak of something far beyond their charts, graphs, statistics, they are telling us something about what it is like to be alive. It is not self-pity which one hears in them, but compassion. And perhaps this is the place for me to say that I really do not, at the very bottom of my own mind, compare myself to other writers. I think I really helplessly model myself on jazz musicians and try to write the way they sound. I am not an intellectual, not in the dreary sense that word is used today, and do not want to be: I am aiming at what Henry James called “perception at the pitch of passion.
”
”
James Baldwin (The Cross of Redemption: Uncollected Writings)
“
The nine-time Grammy– and Pulitzer Prize–winning jazz musician Wynton Marsalis once advised a promising young musician on the mind-set required in the lifelong study of music: “Humility engenders learning because it beats back the arrogance that puts blinders on. It leaves you open for truths to reveal themselves. You don’t stand in your own way. . . . Do you know how you can tell when someone is truly humble? I believe there’s one simple test: because they consistently observe and listen, the humble improve. They don’t assume, ‘I know the way.
”
”
Ryan Holiday (Ego Is the Enemy)
“
American musicians, instead of investigating ragtime, attempt to ignore it, or dismiss it with a contemptuous word. But that has always been the course of scholasticism in every branch of art. Whatever new thing the 'people' like is poohpoohed; whatever is 'popular' is spoken of as not worth the while. The fact is, nothing great or enduring, especially in music, has ever sprung full-fledged and unprecedented from the brain of any master; the best that he gives to the world he gathers from the hearts of the people, and runs it through the alembic of his genius.
”
”
James Weldon Johnson (The Autobiography of an Ex-Coloured Man)
“
God has wrought many things out of oppression. He has endowed his creatures with the capacity to create-and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations.
Jazz speaks for life. The Blues tell the story of life’s difficulties, and if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph. This is triumphant music.
Modern Jazz has continued in this tradition, singing the songs of a more complicated urban existence. When life itself offers no order and meaning, the musician creates an order and meaning from the sounds of the earth which flow through his instrument.
It is no wonder that so much of the search for identity among American Negroes was championed by Jazz musicians. Long before the modern essayists and scholars wrote of racial identity as a problem for a multiracial world, musicians were returning to their roots to affirm that which was stirring within their souls. Much of the power of our Freedom Movement in the United States has come from this music. It has strengthened us with its sweet rhythms when courage began to fail. It has calmed us with its rich harmonies when spirits were down. And now, Jazz is exported to the world. For in the particular struggle of the Negro in America there is something akin to the universal struggle of modern man. Everybody has the Blues. Everybody longs for meaning. Everybody needs to love and be loved. Everybody needs to clap hands and be happy. Everybody longs for faith.
In music, especially this broad category called Jazz, there is a stepping stone towards all of these.
”
”
Martin Luther King Jr.
“
Here is New York. This is why I stay. I stay to hear the jazz musicians playing in the parks, and to browse the tables of books for sale on the street. I stay for a drink in a quiet bar, lit by golden autumn light, and for Film Forum double features in black and white. I stay for egg creams, for the amateur opera singers practicing with their windows open so we all can listen. For the Chinese grandmothers dancing by the East River, snapping red fans in their hands. For the music of shopkeepers throwing open their gates. I stay for the unexpected spectacle, and the chance encounter, and for those tough seagulls gliding inland on rainy days to remind us that Manhattan is an island, a potential space both separate and connected. Most of all, I stay because I need New York. I can't live anywhere else, so I hold on to what remains. We've lost a lot, but there's so much left worth fighting for. And while I stay, I fight.
”
”
Jeremiah Moss (Vanishing New York: How a Great City Lost Its Soul)
“
For the life of us all—whether we be star or starfish—is made of four ingredients, ingredients that can be found in the recipe to Alice’s hot-milk cake.
Those ingredients are earth, fire, air, and water. But as Theo walked down the snowy vein of Cockle Cove Road and into the arctic air that surrounded the sea, he sensed that fifth element, which poets and religions and pregnant women and jazz musicians point to—that fifth element of spirit.
He sensed that fifth ingredient with the cat. Surely, she is knowing. Surely, she has a soul. As the snowflakes dropped onto his pea coat, Theo thought that this was not only the snow descending upon the mantel of his coat, but the sacred ephemerals that he, like Ahanu and Reverend Cummings, believed ran through all living things. It was the fifth element of which the great masters—Moses, Socrates, Buddha, Jesus, Mohammed, and Big Thunder—spoke. The Sacral Spirit. We were put on this magical planet, not to dominate and consume her, but to care for her and love her. To harrow gently. To harvest gratefully. To build reasonably.
”
”
David Paul Kirkpatrick (the dog)
“
How remote we were too from the crazy musicians who arrived on a blustery fall day with the idea that, since this was a financial center, there would be a rain of coins from the tall buildings in response to their trumpet, guitar, and bass fiddle. The wind swirled their jazz among the canyons. I saw that no one was paying them the slightest attention. Feeling guilty, I threw them a quarter, but they didn't see it. They danced and made jazz in the cold, while upstairs we went on with our work, and they didn't exist, and it was nobody's fault.
”
”
Alan Harrington
“
symphony isn’t what you’re going for. Leave the conductor and the sheet music behind. Build a jazz band instead. Jazz emphasizes individual spontaneity. The musicians know the overall structure of the song but have the freedom to improvise, riffing off one another other, creating incredible music. Of course, you can’t just remove the rules and processes, tell your team to be a jazz band, and expect it to be so. Without the right conditions, chaos will ensue. But now, after reading this book, you have a map. Once you begin to hear the music, keep focused. Culture isn’t something you can build up and then ignore. At Netflix, we are constantly debating our culture and expecting it will continually evolve. To build a team that is innovative, fast, and flexible, keep things a little bit loose. Welcome constant change. Operate a little closer toward the edge of chaos. Don’t provide a musical score and build a symphonic orchestra. Work on creating those jazz conditions and hire the type of employees who long to be part of an improvisational band. When it all comes together, the music is beautiful.
”
”
Reed Hastings (No Rules Rules: Netflix and the Culture of Reinvention)
“
In 2014—one year after Dasani competed in a track competition at the Pratt Institute—Spike Lee stood onstage there during Black History Month, delivering a rant against gentrification. “Then comes motherfuckin’ Christopher Columbus Syndrome,” fumed Lee. “You can’t discover this! We been here.” He went on to compare Fort Greene Park to the Westminster Dog Show, “with twenty thousand dogs running around,” while lamenting how his father, a jazz musician who had purchased his home in 1968, was playing acoustic bass when his new neighbors, in 2013, called the police. “You just can’t come in where people have a culture that’s been laid down for generations and you come in and now shit gotta change because you’re here?” The same forces are reshaping Bed-Stuy, the historic neighborhood where Dasani’s great-grandfather June first landed and where her teacher, Miss Hester, still lives. Around the corner from her basement rental, a trendy café now sells $4 espressos. Miss Hester resents the neighborhood’s white transplants, walking around “as if I am the outsider, and I’m like, ‘Excuse me I was born here!’
”
”
Andrea Elliott (Invisible Child: Poverty, Survival, and Hope in an American City)
“
Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.
In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.
”
”
Jeffrey H. Jackson (Making Jazz French: Music and Modern Life in Interwar Paris (American Encounters/Global Interactions))
“
God has wrought many things out of oppression. He has endowed his creatures with the capacity to create and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell the story of life's difficulties, and if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to
come out with some new hope or sense of triumph. This is triumphant music. Modern Jazz has continued in this tradition, singing the songs of a more complicated urban existence. When life itself offers no order and meaning, the musician creates an order and meaning from the sounds of the earth, which flow through his instrument.
”
”
Martin Luther King Jr.
“
The pieces of Cholly's life could become coherent only in the head of a musician. Only those who talk their talk through the gold of curved metal, or in the touch of black-and-white rectangles and taut skins and strings echoing from wooden corridors, could give true form to his life. Only they would know how to connect the heart of a red watermelon to the asafetida bag to the muscadine to the flashlight on his behind to the fists of money to the lemonade in a Mason jar to a man called Blue and come up with what all of that meant in joy, in pain, in anger, in love, and give it its final and pervading ache of freedom. Only a musician would sense, know, without even knowing that he knew that Cholly was free. Dangerously free. Free to feel whatever he felt--fear, guilt, shame, love, grief, pity. Free to be tender or violent, to whistle or weep.
”
”
Toni Morrison (The Bluest Eye)
“
Fifteen years had passed since I first learned to improvise by copying George Shearing records. From the beginning, the goal was to move beyond imitation and find my own voice, and I felt that that was finally happening. Miles had been the guiding light to my growth, encouraging all of us in the band to develop our own styles of playing, and during my five and a half years in the quintet I did start to develop my own sound. But it wasn’t until I got out on my own that I felt I could really explore it. Now that I had my own sextet, I started thinking analytically about what actually goes on within a jazz group. At every moment onstage players are making choices, and each choice affects every other member of the group. So each player has to be prepared to change directions at any given moment—just as Miles did when I played that “wrong” chord onstage a few years earlier. Everybody in a jazz ensemble has learned the basic framework of harmony and scales and how they fit. They know the basic song structure of having the rhythm section—piano, bass, and drums—playing together while the horns carry the melody. But apart from those basics, jazz is incredibly broad. There are really uncountable ways of playing it. For the pianist alone there are so many choices to make: what pitch, how many notes, whether to play a chord or a line. I have ten fingers, and they’re in motion almost all the time, so all of those decisions must happen in an instant. I’m reacting to what the rest of the band is playing, but if I’m only reacting, then I’m not really making a choice; I’m just getting hit and being pushed along. Acting is making a choice, so all the players must be ready to act as well as react. The players have to be talented enough, and confident enough, to do both. I had watched Miles surround himself with amazing musicians and then give them the freedom to act.
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Herbie Hancock (Herbie Hancock: Possibilities)
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Jazz was the opposite of everything Harry Anslinger believed in. It is improvised, and relaxed, and free-form. It follows its own rhythm. Worst of all, it is a mongrel music made up of European, Caribbean, and African echoes, all mating on American shores. To Anslinger, this was musical anarchy, and evidence of a recurrence of the primitive impulses that lurk in black people, waiting to emerge. “It sounded,” his internal memos said, “like the jungles in the dead of night.”94 Another memo warned that “unbelievably ancient indecent rites of the East Indies are resurrected”95 in this black man’s music. The lives of the jazzmen, he said, “reek of filth.”96 His agents reported back to him97 that “many among the jazzmen think they are playing magnificently when under the influence of marihuana but they are actually becoming hopelessly confused and playing horribly.” The Bureau believed that marijuana slowed down your perception of time98 dramatically, and this was why jazz music sounded so freakish—the musicians were literally living at a different, inhuman rhythm. “Music hath charms,”99 their memos say, “but not this music.” Indeed, Harry took jazz as yet more proof that marijuana drives people insane. For example, the song “That Funny Reefer Man”100 contains the line “Any time he gets a notion, he can walk across the ocean.” Harry’s agents warned: “He does think that.” Anslinger looked out over a scene filled with men like Charlie Parker,101 Louis Armstrong,102 and Thelonious Monk,103 and—as the journalist Larry Sloman recorded—he longed to see them all behind bars.104 He wrote to all the agents he had sent to follow them, and instructed: “Please prepare all cases in your jurisdiction105 involving musicians in violation of the marijuana laws. We will have a great national round-up arrest of all such persons on a single day. I will let you know what day.” His advice on drug raids to his men was always “Shoot first.”106 He reassured congressmen that his crackdown would affect not “the good musicians, but the jazz type.”107 But when Harry came for them, the jazz world would have one weapon that saved them: its absolute solidarity. Anslinger’s men could find almost no one among them who was willing to snitch,108 and whenever one of them was busted,109 they all chipped in to bail him out.
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Johann Hari (Chasing the Scream: The First and Last Days of the War on Drugs)
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There’s a tap on my shoulder. I turn around and get lost in a sea of blue. A Jersey-accented voice says, “It’s about time, kid,” and Frank Sinatra rattles the ice in his glass of Jack Daniel’s. Looking at the swirling deep-brown liquid, he whispers, “Ain’t it beautiful?” This is my introduction to the Chairman of the Board. We spend the next half hour talking Jersey, Hoboken, swimming in the Hudson River and the Shore. We then sit down for dinner at a table with Robert De Niro, Angie Dickinson and Frank and his wife, Barbara. This is all occurring at the Hollywood “Guinea Party” Patti and I have been invited to, courtesy of Tita Cahn. Patti had met Tita a few weeks previous at the nail parlor. She’s the wife of Sammy Cahn, famous for such songs as “All The Way,” “Teach Me Tonight” and “Only the Lonely.” She called one afternoon and told us she was hosting a private event. She said it would be very quiet and couldn’t tell us who would be there, but assured us we’d be very comfortable. So off into the LA night we went. During the evening, we befriend the Sinatras and are quietly invited into the circle of the last of the old Hollywood stars. Over the next several years we attend a few very private events where Frank and the remaining clan hold forth. The only other musician in the room is often Quincy Jones, and besides Patti and I there is rarely a rocker in sight. The Sinatras are gracious hosts and our acquaintance culminates in our being invited to Frank’s eightieth birthday party dinner. It’s a sedate event at the Sinatras’ Los Angeles home. Sometime after dinner, we find ourselves around the living room piano with Steve and Eydie Gorme and Bob Dylan. Steve is playing the piano and up close he and Eydie can really sing the great standards. Patti has been thoroughly schooled in jazz by Jerry Coker, one of the great jazz educators at the Frost School of Music at the University of Miami. She was there at the same time as Bruce Hornsby, Jaco Pastorius and Pat Metheny, and she learned her stuff. At Frank’s, as the music drifts on, she slips gently in on “My One and Only Love.” Patti is a secret weapon. She can sing torch like a cross between Peggy Lee and Julie London (I’m not kidding). Eydie Gorme hears Patti, stops the music and says, “Frank, come over here. We’ve got a singer!” Frank moves to the piano and I then get to watch my wife beautifully serenade Frank Sinatra and Bob Dylan, to be met by a torrent of applause when she’s finished. The next day we play Frank’s eightieth birthday celebration for ABC TV and I get to escort him to the stage along with Tony Bennett. It’s a beautiful evening and a fitting celebration for the greatest pop singer of all time. Two years later Frank passed away and we were generously invited to his funeral. A
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Bruce Springsteen (Born to Run)
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In the seventies, Walter and I wrote a tune, “Deacon Blues,” that toyed with the cliché of the jazz musician as antihero. It was kind of a takeoff on that old essay by Norman Mailer, “The White Negro,” not to mention our lives up to that point.
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Donald Fagen (Eminent Hipsters)
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People often ask me if it’s scary to make up a song onstage, dictating parts, on the fly, to a full orchestra. Well, no. It doesn’t occur to me to worry about that. I have a jazz musician’s view of mistakes. If you play a wrong note, you can always make the same mistake again on purpose and make it sound right. Insistence on the mistake can be quite musical. Indeed, “once is a mistake, twice is jazz,” a quote often attributed to Miles Davis.
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Ben Folds (A Dream about Lightning Bugs: A Life of Music and Cheap Lessons)
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there are many things that have set my soul on fire. mainly situated within the different phases of my life. with the world at a major crossroad, Black artists are setting my soul on fire; especially jazz musicians. like never before, there is a rise of a young cohort who are blowing the jazz scene apart. my soul blazes because Black artists are channels that keep us accountable, heal us, and reveal mysteries to us.
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Malebo Sephodi
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Thelonious suffered from bipolar disorder, the signs of which are evident as early as the 1940s. But by the early 1960s, just as he began to earn the fame and recognition that had eluded him for the first two decades of his career, various mental and physical ailments began to take an even greater toll, exacerbated by poor medical treatment, an unhealthy lifestyle, the daily stresses of a working jazz musician, and an unending financial and creative battle with the music industry.
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Robin D.G. Kelley (Thelonious Monk: The Life and Times of an American Original)
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Jazz emphasizes individual spontaneity. The musicians know the overall structure of the song but have the freedom to improvise, riffing off one another other, creating incredible music.
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Reed Hastings (No Rules Rules: Netflix and the Culture of Reinvention)
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Recordings resulted in a skewed, inaccurate impression of music that wasn’t already well-known. It would be more accurate to say that early jazz recordings were versions of that music. Musicians in other towns, hearing what these drummers and bass/tuba players were doing on the recordings, sometimes assumed that that was how the music was supposed to be played, and they began to copy those adaptations that had initially been made solely to accommodate the limitations of the technology. How could they know differently?
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David Byrne (How Music Works)
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Recordings resulted in a skewed, inaccurate impression of music that wasn’t already well-known. It would be more accurate to say that early jazz recordings were versions of that music. Musicians in other towns, hearing what these drummers and bass/tuba players were doing on the recordings, sometimes assumed that that was how the music was supposed to be played, and they began to copy those adaptations that had initially been made solely to accommodate the limitations of the technology. How could they know differently? Now we don’t and can never know what those bands really sounded like—their true sound may have been “unrecordable.” Our understanding of certain kinds of music, based on recordings anyway, is completely inaccurate.
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David Byrne (How Music Works)
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More poets, more jazz musicians. We wouldn't be in half the shit we're in now if we had more of them.
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Phil Hendrie
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The gradual increase in popularity of the Mersey sound forced musicians like me to almost go underground, as if we were anarchists, plotting to overthrow the music establishment. It seemed that the “trad jazz” movement was dying, and was taking folk and blues with it.
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Eric Clapton (Clapton: The Autobiography)
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1973 was the year when the United Kingdom entered the European Economic Union, the year when Watergate helped us with a name for all future scandals, Carly Simon began the year at number one with ‘You’re So Vain’, John Tavener premiered his Variations on ‘Three Blind Mice’ for orchestra, the year when The Godfather won Best Picture Oscar, when the Bond film was Live and Let Die, when Perry Henzell’s film The Harder They Come, starring Jimmy Cliff, opened, when Sofia Gubaidulina’s Roses for piano and soprano premiered in Moscow, when David Bowie was Aladdin Sane, Lou Reed walked on the wild side and made up a ‘Berlin’, Slade were feeling the noize, Dobie Gray was drifting away, Bruce Springsteen was ‘Blinded by the Light’, Tom Waits was calling ‘Closing Time’, Bob Dylan was ‘Knocking on Heaven’s Door’, Sly and the Family Stone were ‘Fresh’, Queen recorded their first radio session for John Peel, when Marvin Gaye sang ‘What’s Going On’ and Ann Peebles’s ‘I Can’t Stand the Rain’, when Morton Feldman’s Voices and Instruments II for three female voices, flute, two cellos and bass, Alfred Schnittke’s Suite in the Old Style for violin and piano and Iannis Xenakis’s Eridanos for brass and strings premiered, when Ian Carr’s Nucleus released two albums refining their tangy English survey of the current jazz-rock mind of Miles Davis, when Ornette Coleman started recording again after a five-year pause, making a field recording in Morocco with the Master Musicians of Joujouka, when Stevie Wonder reached No. 1 with ‘Superstition’ and ‘You Are the Sunshine of My Life’, when Free, Family and the Byrds played their last show, 10cc played their first, the Everly Brothers split up, Gram Parsons died, and DJ Kool Herc DJed his first block party for his sister’s birthday in the Bronx, New York, where he mixed instrumental sections of two copies of the same record using two turntables.
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Paul Morley (A Sound Mind: How I Fell in Love with Classical Music (and Decided to Rewrite its Entire History))
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Jazz is a strange music. Jazz is where you find it. You dig all day in the mine, handling those big lumpy dead rocks; that’s the popular music, the dead stuff. And then all of a sudden you come on a bright gleaming streak embedded in the dead rock; it’s alive, it’s gold. That’s how you find jazz. So many people have never heard jazz, because they’ve found nothing but the slag, the dead ore in which it’s cased. They hear the raw material, the nondescript popular song; they may never be lucky enough to be present when inspired musicians strike away the lumpy death and bring out the life. The trumpet states a theme; it isn’t a hell of a good theme and in the song it means little or nothing. He strips it down to its bare chords, throws its thin line of melody out there for a start. The clarinet invents a counter-melody for himself, an invention as carefully wrought, as musicianly, as anything Bach ever wrote down. And then the trombone sings; there is a complete perfection, coming close to the unbearable, in the addition of that third voice to the polyphony of true jazz. Out of nothing something of beauty has been created; you have heard jazz, and you are lucky. You are even more lucky if you have created jazz, if you can sit with the gut-searing vibrations of a trombone mouthpiece kicking back against your face and feel the music down into your feet.
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Dale Curran (Dupree Blues)
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Jazz at Lincoln Center, says of his work with other jazz musicians: “There are always tensions that come up. Part of working is dealing with tensions. If there’s no tension, then you’re not serious about what you’re doing.
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Amy C. Edmondson (Teaming: How Organizations Learn, Innovate, and Compete in the Knowledge Economy)
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His album that year was Sign O’ the Times. I took the fact that the gang in the title track was named the Disciples as a personal tribute. The tour behind that record was the best Rock show I’ve ever seen. I went three times, and it blew my mind every time. The production was the highest evolution of the live, physical part of our Artform I have ever seen. It was Prince’s vision, but his production designer, LeRoy Bennett, deserves much of the credit for pulling it off. It was Rock, it was Theater, it was Soul, it was Cinema, it was Jazz, it was Broadway. The stage metamorphized into different scenes and configurations right before your eyes, transforming itself into whatever emotional setting was appropriate for each song. On top of that, the music never stopped, for three solid hours. Prince wrote various pieces, or covered Jazz, as interstitial transitions for those moments when the stage was shifting or the musicians were changing clothes. At one point, he even had a craps game break out, which made me laugh—it brought me back to Dr. Zoom and the Sonic Boom and our onstage Monopoly games. They captured it pretty well on film, but it can’t compare. When you’re watching a movie, your mind is used to scene changes, different sets and lighting. Live, it’s something else. That kind of legerdemain before your eyes is mind-boggling.
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Stevie Van Zandt (Unrequited Infatuations: A Memoir)
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We were in an age of broken dreams, and destroyed idealism. To see performances was to watch death's hand slowly moving away from the face of his victims -- their souls taken away through the chords of instrumentation and voice. Musicians, reapers made into humans, deceiving others to follow them through reaching others hearts with their musical craftsmanship. Writers, the thieves of the dreaming stow-aways of society. Painters, the men and women who depict the very essence of what they see as our world, and the thieves of hearts. And then, we have the singers: The devil’s voice that could lead masses into battle, with the essence of an angel. Sadly, our worlds weren’t much different.
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W.M Angel (Atlas Loved)
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Beyond 5-note and 7-note scales, there are a few specialized 8-note jazz scales (called bebop scales).
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Nicolas Carter (Music Theory: From Beginner to Expert - The Ultimate Step-By-Step Guide to Understanding and Learning Music Theory Effortlessly (Essential Learning Tools for Musicians Book 1))
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If some professor asks me what jazz is, it's a music and it's a word that I heard describing the music and it's beautiful music regardless of what you think about it. It's just a word, just like your name.
Somebody says Arthur Taylor, then looks at you as a black person: It's the same thing. It's a white name, it's a slave name.
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Arthur Taylor (Notes and Tones: Musician-to-Musician Interviews)
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As America suffered from the Depression, Kansas City soared, thanks to the Ten-Year Plan. “In Kansas City,” said Conrad Mann, the president of the chamber of commerce, “we are building the greatest inland city the world has ever seen.” New skyscrapers sprouted from the ground every year, and jazz clubs rollicked into the morning, at a time when, as one agent put it, the rest of the country “couldn’t afford three dollars a night for a musician.” Pendergast liked to think generosity was at the core of his power. When a British parliamentarian named Marjorie Graves visited his Main Street office in 1933, he told her he helped “the poor through our organizations.” It was true that Tom’s Town was built on undervalued workers—immigrants, Black labor, the poor. “The Boss” hosted a fancy dinner for the needy every Christmas and kept quarters in his pockets for the homeless. By the early 1930s, with police brutality against the Black community on the rise, Pendergast seized control of the Kansas City Police Department, taking it back from the state of Missouri, which had assumed leadership in the Civil War era. Pendergast assigned staffing oversight to “Brother John” Lazia, the leader of the Fifth Democratic Ward and a charismatic crime boss, and when dozens more loyal Pendergast supporters were appointed to the force, The Kansas City Call reported that police brutality had declined. But Pendergast’s Ten-Year Plan funds rarely made it to Black communities, and the occasional gifts from his patronage system masked the need for lasting racial reforms.
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Mark Dent (Kingdom Quarterback: Patrick Mahomes, the Kansas City Chiefs, and How a Once Swingin' Cow Town Chasedthe Ultimate Comeback)
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The city had never been more corrupt, with local government by fiat and the threat of political violence never far away, and, strangely, it had never been more relevant. Under the watchful eye of Pendergast, Walt Disney opened Laugh-O-Gram Studios near Thirty-First and Troost Avenue. Cub reporter Ernest Hemingway wrote short, declarative sentences at The Kansas City Star (abiding by the paper’s house style). Nell Donnelly popularized gingham for American mothers and built a fashion empire. Baseball stars Paige and O’Neil turned the Kansas City Monarchs into a Negro Leagues powerhouse. Homer B. Roberts invested profits to open another car dealership in Chicago. Even Pendergast’s detractors fed off his power. During his reign, local boosters were crazy enough to talk about Kansas City becoming a city of one million people, more than double its size. It still felt like the city could turn into something great, following the trajectory of the many jazz musicians who passed through. Basie stuck around for nine years. Kansas City, in his eyes, was “a cracker town but a happy town.
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Mark Dent (Kingdom Quarterback: Patrick Mahomes, the Kansas City Chiefs, and How a Once Swingin' Cow Town Chasedthe Ultimate Comeback)
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He was like a jazz musician, joyfully improvising, imagining tastes that ordinary people could not. He pulled ingredients apart and reconstructed them in endlessly surprising ways: clear little cubes that tasted of just-picked tomatoes still warm from the sun, or cheese puffs that floated into your mouth and simply vanished, leaving a trail of flavor in their wake. One day he melted chocolate, mixed in chilies, and wrapped the sauce around tart orange ice; people begged for seconds.
She'd never met anyone like him, and as she watched him cook, Stella saw that in the kitchen all the qualities that made him a poor choice as a parent or a partner turned into strengths. Utterly unafraid of failure, he was willing to try anything. It was the source of his creativity. He was a confident person who pleased himself; if it didn't work out, he simply moved on.
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Ruth Reichl (The Paris Novel)
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Americans invented jazz; the French, Brazilians and Japanese also understand it. It is important to have formal training in the classical repertoire, but a true musician is not a train which can only run on the rails. My mother admired Bill Evans.
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Helen DeWitt (The English Understand Wool)
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But the Oriental musician has a rough notation which he uses only as a reminder of a melody. He learns music, not by reading notes, but by listening to the performance of a teacher, getting the “feel” of it, and copying him, and this enables him to acquire rhythmic and tonal sophistications matched only by those Western jazz artists who use the same approach.
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Alan W. Watts (The Way of Zen)
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We permit a new future to enter the room with these startling encounters. A young boy from Austin, Texas, Charles Black Jr., stood and knew it when he was just sixteen years old, thinking he was going to a coed social at the Driskill Hotel in his hometown in 1931. It was a dance, the first in a session of four, yet he remained transfixed by an image that he had never seen before. The trumpet player, a jazz musician whom he had not heard of, performed largely with his eyes closed, sounding out notes, ideas, laments, sonnets, “that had never before existed,” he said. His music sounded like an “utter transcendence of all else created.” He was with a friend, a “ ‘good old boy’ from Austin High,” who sensed it too, and was troubled. It rumbled the ground underneath them. His friend stood a while longer, “shook his head as if clearing it,” as if prying himself out of the trance. But Charles Black Jr. was sure even then. The trumpeter, “Louis Armstrong, King of the Trumpet” as it turned out, “was the first genius I had ever seen,” Black said, and that genius was housed in the body of a man whom Black’s childhood world had denigrated. The moment was “solemn.” Black had been staring at “genius,” yes, “fine control over total power, all height and depth, forever and ever,” and also staring at the gulf created by “the failure to recognize kinship.” He felt that Armstrong, who played as if “guided by a Daemon,” all “power” and lyricism, “opened my eyes wide, and put to me a choice”—to keep to a small view of humanity or to embrace a more expanded vision—and once Black made that choice, he never turned back. This is what aesthetic force can do—create a clear line forward, and an alternate route to choose.
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Sarah Lewis (The Rise: Creativity, the Gift of Failure, and the Search for Mastery)
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Joy Harjo, who’s a Creek Indian poet and a jazz musician, was once asked by a white reporter why she played the saxophone, since it’s not an Indian instrument. And she said: “It is when I play it.” If “I’m in the reservation of my mind” is the question, then “It is when I play it” is the answer. It’s an internal condition, and we spend too much time defining ourselves by the external. There is always this implication that in order to be Indian you must be from the reservation. It’s not true and it’s a notion that limits us—it forces us to define our entire life experiences in terms of how they do or do not relate to the reservation.
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Joe Fassler (Light the Dark: Writers on Creativity, Inspiration, and the Artistic Process)
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Billie Holiday
Her imperfect life led to her becoming a legendary performer with a continuing influence on American music. Born Eleanora Fagan on April 7, 1015 she became a songwriter and jazz singer with an unmistakable vocal style. Although she had a limited range her delivery, tempo and natural skills, held the attention of a devoted following.
Influenced by Louis Armstrong and Bessie Smith her success as a pop singer with the Benny Goodman Band started with "Riffin' the Scotch", which sold 5,000 copies. She continued with Count Basie and Artie Shaw and was recognized throughout the 1930s and the 1940s with songs such as “I’ve Got My Love To Keep Me Warm,” “What a Little Moonlight Can Do” and “God Bless the Child.” Plagued with abusive relationships, drug and alcohol addiction, and even a short prison sentence she still rose to the top of the charts. Her predictable deterioration and eventual death on July 17, 1959 was caused by cirrholis of the liver.
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Hank Bracker
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To employ a cliché, Scott truly was a team player of the highest caliber whose individual contributions to jazz improvisation and bass playing are still having a major impact some forty-five years after his death. I
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Helene LaFaro-Fernandez (Jade Visions: The Life and Music of Scott LaFaro (North Texas Lives of Musician Series Book 4))
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Oscar is our Liszt and Bill Evans is our Chopin,
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Stuart Isacoff (A Natural History of the Piano: The Instrument, the Music, the Musicians - from Mozart to Jazz and Everything in Between)
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Sociobiologist Edward O. Wilson later said that there should be a “consilience” between art and science. 79 Former NASA astronaut Mae Jemison took selected images with her on her first trip to space, including a poster of dancer and former artistic director of the Alvin Ailey American Dance Theater Judith Jamison performing the dance Cry, and a Bundu statue from Sierra Leone, because, as she said, “the creativity that allowed us . . . to conceive and build and launch the space shuttle, springs from the same source as the imagination and analysis it took to carve a Bundu statue, or the ingenuity it took to design, choreograph, and stage ‘Cry.’ . . . That’s what we have to reconcile in our minds, how these things fit together.” 80 As a jazz musician once told me, musicians are mathematicians as well as artists. Morse’s story suggests that the argument started not because of the need to bring art and science together, but because they were once not so far apart. 81 When Frank Jewett Mather Jr. of The Nation stated that Morse “was an inventor superimposed upon an artist,” it was factually true. 82 Equally true is that Morse could become an inventor because he was an artist all the while. In one of the final paintings that laid him flat, the painting that failed to secure his last attempt at a commission, one he had worked fifteen years to achieve, Morse may have left a clue about his shift from art to invention, and the fact that the skills required for both are the same. He painted The House of Representatives (1822–23) as evidence of his suitability for a commission from Congress to complete a suite of paintings that still adorn the U.S. Capitol building. The painting has an odd compositional focus. In the center is a man screwing in an oil chandelier, preoccupied with currents. Morse was “rejected beyond hope of appeal” by the congressional commission led by John Quincy Adams. When he toured the picture for seven weeks—displayed in a coffee house in Salem, Massachusetts, and at exhibitions in New York, Boston, Middleton, and Hartford, Connecticut—it lost twenty dollars in the first two weeks. Compounded by a litany of embarrassing, near-soul-stealing artistic failures, he took to his bed for weeks, “more seriously depressed than ever.” This final rejection forced him to shift his energies to his telegraph invention. 83 By 1844 Morse went to the Capitol focused on a current that would occupy the work of Congress—obtaining a patent for the telegraph.
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Sarah Lewis (The Rise: Creativity, the Gift of Failure, and the Search for Mastery)
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Not to be confused with Der Flügel, which is an earlier form of the baby grand piano, the Flugelhorn is a wind instrument akin to the trumpet, but has a wider, conical bore. It is actually a descendant of the valved bugle, which had been developed from a hunting horn known in eighteenth-century Germany as a Flügelhorn. This valved instrument is similar to the B♭pitch of many trumpets and cornets and was actually inspired by the eighteenth-century saxhorn on which the flugelhorn is modeled. The German word Flügel means wing and in the early part of the 18th century Germany the leader or Führer of the hunt was known as a Flügelmeister who issued his orders of the hunt with, you guessed it, a Flügelhorn.
Some modern flugelhorns feature a fourth valve that adds a lower range and extends the instrument's abilities, however some players use the fourth valve in place of the first and third valve combination making the instrument somewhat sharper and more confusing. The tone range is "fatter" and usually regarded as more “mellow” and “darker” than the trumpet or cornet. The sound of the flugelhorn has been described as halfway between a trumpet and a French horn and is a standard member of the British-style brass band. Joe Bishop an American jazz musician and composer, not to be confused with Joey Bishop of the Rat Pack, was a member of the Woody Herman band and was one of the earliest jazz musicians to use the flugelhorn.
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Hank Bracker
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It might seem a contradiction but... the ability to improvise requires lots of practice. Ask any jazz musician.
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Ted Agon (the human key condensed: master)
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The training for the race was really where the major life progress would occur. Think of a jazz musician giving a performance. It requires extensive preparation, but its content can’t necessarily be predicted. The musician can’t prepare for the concert by rehearsing what he knows he will play; it wouldn’t be jazz without improvisation
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Anonymous
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There is something more to be said about our freedom to improvise inside of the composer’s form. The jazz lifestyle of the kingdom of God is a communal freedom. Jazz musicians make harmonious music, not just because they stay inside an agreed upon musical structure, but because they play in community with one another. Good jazz musicians are not just good players; they are also very skilled listeners. Their jazz is always an interaction with what is going on around them. God hasn’t given us sheet music. He has composed a structure that liberates us to improvise within the structure, and all while listening intently to one another and to him. What is he doing in and through my brothers and sisters in this moment? How can I make music that is harmonious with what God is intending, and with what others need? These are the questions of the communal freedom of the kingdom of God.
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Paul David Tripp (A Quest for More: Living for Something Bigger than You)
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Peterson revealed that he had decided the only way to get attention was “to frighten the hell out of everybody pianistically.
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Stuart Isacoff (A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between)
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Alkan even wrote a piece for four feet, called Bombardo-Carillon, in which the player’s legs are likely to get entangled during performance. (When Swiss-American pianist Rudolph Ganz was asked to perform Bombardo-Carillon with a female pianist, he declined on the grounds that he didn’t know her well enough.)
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Stuart Isacoff (A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between)
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The handful of leading craftsmen turning out pianos during that time produced only around thirty to fifty of them per annum. But by 1798, piano maker James Shudi Broadwood could barely keep up with demand, writing to a wholesaler, “Would to God we could make them like muffins!
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Stuart Isacoff (A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between)
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As Victorian-era prudishness set in, some upstanding citizens also took to putting coverlets over the instrument’s legs out of an exaggerated sense of modesty.
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Stuart Isacoff (A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between)
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They include conceptual artist and “environmental music” composer Annea Lockwood, who created a work entitled Piano Burning. Debuted in London in 1968, it requires the performer to select an upright piano in disrepair, put it in an open space with the lid closed, and set it on fire with a twist of paper doused in lighter fluid. (Optional balloons may be stapled to the piano.) “Play whatever pleases you for as long as you can,” she suggests. To which any responsible writer would add, please do not try this at home.
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Stuart Isacoff (A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between)