Mars is really different, into art. Lydia Lunch is more energy. James Chance is more commercial in a different way, in funk and jazz. They were all doing original things, trying to create their own sound and music. I think they're all great.
A jazz beat is a dynamic changing rhythm.
Jazz fans love Miles and I love him for a myriad of reasons, but the overviews are always too simplistic.
I love music, I love all kinds of music, particularly jazz. Jazz is an extension of America. There's no other country in the world that could have produced jazz.
By and large, jazz has always been like the kind of a man you wouldn't want your daughter to associate with.
I always wanted praise, and I always wanted attention; I won't lie to you. I was a jazz critic, and that wasn't good enough for me. I wanted people to write about me, not me about them. So I thought, 'What could I do? I can't sing, I can't dance, I can't act or anything like that. OK, I can write.'
The jazz boom was goin' on then so there was a lot happenin' in New York at that time.
I listen to Neil Young and jazz and classical stations and, if my girlfriend's driving, it tends to be Hall & Oates.
Jazz can be a blank canvas full of possibilities.
Sometimes you need to stand with your nose to the window and have a good look at jazz. And I've done that on many occasions.
I've gone the full spectrum - from gospel to blues to jazz to soul to pop - and the public has accepted what I've done through it all. I think it means I've been doing something right at the right time.
There are singers that I have enjoyed, from Nina Simone and Ray Charles onward. But the music that made music the number one thing for me as a youth was jazz.
When I was a kid, I used to listen to my Emerson radio late at night under the covers. I started by listening to jazz in the late 1940s and then vocal harmony groups like the Four Freshmen, the Modernaires and the Hi-Lo's. I loved Stan Kenton's big band - with those dark chords and musicians who could swing cool with individual sounds.
The spirit of jazz is the spirit of openness.
Jazz is a music of great achievements but speed and chops serve a different function in jazz.
If one takes all the styles in jazz harmonically from the earliest beginnings to the latest experiments, he still has a rather limited scope when compared to the rest of music in the world.
It was liberating to do comedy. It felt like playing in a jazz band.
What happens when an art form becomes ambiguous, I think, is that the standards are lowered. You can say anything is jazz. So I think it's important to reflect on what made jazz so special.
Just figure out what you think jazz is, and then if it fits into that category, it's jazz, and if it doesn't, it isn't. It's no big deal.
Jazz tickles your muscles, symphonies stretch your soul.
The day of the great jazz improviser who doesn't know how to read music is over.
Being jazz-trained, things happen spontaneously. Even though it's funk rock, we still have the instincts of a jazz musician.
There's this certain caliber of dancing I was striving for when I was younger, and it's very hard for me to go back and just do it for fun. But I take all other kinds of classes: I take jazz classes, modern classes, and I love doing that instead of going to the gym. The gym is not very much fun.
At this point we've answered about every question you could possibly imagine about Deep Space Nine, so we do this thing called Theatrical Jazz, where we do a show of bits and pieces of things from plays and literature, poetry... stuff that we like. It's fun.
I'm not a jazz singer.
When you're playing jazz, you have to somehow overcome that feeling of being intimidated because your aim is to portray that freedom in what you're playing.
In the last few years I've been listening to jazz more than anything else. I listen to a lot of world music and experimental here and there.
I always had a great appreciation for jazz, but I'm a very pedestrian musician. I get by. I like to think that my main instrument is vocabulary.
As a jazz musician, you have individual power to create the sound. You also have a responsibility to function in the context of other people who have that power also.
Jazz music creates so many phenomenal figures.
I still love the whole history of jazz. The old things sound better than ever.
I think you have to have a jazz pedigree to be on jazz radio.
All the classic jazz players all sang and a lot of 'em sang blues.
Jazz vision is a wordless conversation between musical notes and visual expressions.
The French - they like jazz, they've been on jazz a long time.
You need better technique than I have to play jazz, but what you have to do is the same thing, isn't it?
