100 Quotes About Jazz

jazz is a genre of music that was developed in the United States around the early 20th century. It is characterized by improvisation, polyrhythms and syncopation. Jazz is a style of music that has a lot to offer to a wide range of people. The best part is, it’s free! Here are some great jazz quotes that have been said over the years.

All is as if the world did cease to exist....
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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. Nathan Reese Maher
Amy [Winehouse] changed pop music forever, I remember knowing there...
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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. Lady Gaga
Art and disease proliferate via contagion, and similar conditions favor...
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Art and disease proliferate via contagion, and similar conditions favor both. Ted Gioia
You play me with your jazz & leave me with...
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You play me with your jazz & leave me with the blues. Curtis Tyrone Jones
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Now listen for your song. Everybody’s got a song. When I used to chase the Trane– John Coltrane that is– he used to tell me, ‘If I know a man’s sound, I know the man.’ Do you hear the melody playing in your mind? Does it move you, nudge you off your seat? David Mutti Clark
6
…more than a half million books, all of them smelling like dust and ink, two terrible smells that blend mystically to make something beautiful. Powells is another church to me, a paperback sort of heaven. Donald Miller
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No. No, it was a lonely writer I met one stormy day in Laguna Beach. He had a poem about Thelonious Monk that he sealed in a tin can and labeled Campbell's Cream of Piano Soup. Later I hear he killed himself to avoid the draft. Tom Robbins
Real women don't love the richest guy in the world...
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Real women don't love the richest guy in the world they love the guy who can make their world the richest. Jazz Feylynn
Black women were armed, black women were dangerous and the...
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Black women were armed, black women were dangerous and the less money they had the deadlier the weapon they chose. Toni Morrison
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To be a jazz freedom fighter is to attempt to galvanize and energize world-weary people into forms of organization with accountable leadership that promote critical exchange and broad reflection. The interplay of individuality and unity is not one of uniformity and unanimity imposed from above but rather of conflict among diverse groupings that reach a dynamic consensus subject to questioning and criticism. As with a soloist in a jazz quartet, quintet or band, individuality is promoted in order to sustain and increase the creative tension with the group--a tension that yields higher levels of performance to achieve the aim of the collective project. Cornel West
The guitar poured out its soul, its history, its dreams,...
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The guitar poured out its soul, its history, its dreams, its pain, its victories, its secrets. The guitar’s strings purred with blues and ended with a haunting solitary song with no lyrics. Brenda Sutton Rose
The guitar breathed. It inhaled and exhaled, and music filled...
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The guitar breathed. It inhaled and exhaled, and music filled the shop as the instrument picked the heartbreak of generations. Brenda Sutton Rose
A real musician ain’t gonna choose his own guitar like...
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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
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The 'magic' is the known and unknown quiet, spiritual, invisible thread which links and reveals harmonic elements to a universe of high vibrational sensory. And our beloved Bro. Maurice David knew it's undeniable creative power, from within. T.F. Hodge
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I’m always thinking about creating. My future starts when I wake up in the morning and see the light. Miles Davis
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The very first thing I remember in my early childhood is a flame, a blue flame jumping off a gas stove somebody lit.. I remember being shocked by the whoosh of the blue flame jumping off the burner, the suddenness of it.. I saw that flame and felt that hotness of it close to my face. I felt fear, real fear, for the first time in my life. But I remember it also like some kind of adventure, some kind of weird joy, too. I guess that experience took me someplace in my head I hadn't been before.. The fear I had was almost like an invitation, a challenge to go forward into something I knew nothing about. That's where I think my personal philosophy of life and my commitment to everything I believe in started.. In my mind I have always believed and thought since then that my motion had to be forward, away from the heat of that flame. Miles Davis
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My eyes hunger to read more books then time allows me to devour. Jazz Feylynn
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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. Aberjhani
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If Music is a Place -- then Jazz is the City, Folk is the Wilderness, Rock is the Road, Classical is a Temple. Vera Nazarian
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..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. . Frederick Douglass
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Writing about music is like dancing about architecture. Thelonious Monk
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In every sphere of social interaction, that hermeneutic leap–that ability to put yourself in the mind frame of the other–is a virtue and a blessing. Ted Gioia
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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
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These babies ain’t just guitars; these babies are living, breathing instruments. Brenda Sutton Rose
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When you scratch these guitars, they bleed. Brenda Sutton Rose
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If it sounds good, it is good. Louis Armstrong
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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. Miles Davis
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In Jazz, like in America, the group works together toward a common cause with lots of room left for each individual to shine. Richie Gerber
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It ain't as hard as picking cotton Wynton Marsalis
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I assumed this yoke would encase me as well as any another hobble. Only this one bound the mind. Jazz Feylynn
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Butterfly upon my hand, A voice of wonder within my mind, not my own but the butterfly's. Jazz Feylynn
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Miranda Writes: Anything you say or do may be used for or against you within a story by a writer Jazz Feylynn
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What is my definition of jazz? 'Safe sex of the highest order. Kurt Vonnegut Jr.
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A mistake is the most beautiful thing in the world. It is the only way you can get to some place you’venever been before. I try to make as many as I can. Making a mistake is the only way that you cangrow. E.W. Wainwright
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The annihilating strokes slashed across my penned heartfelt words. Jazz Feylynn
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I don’t want to be a free nigger; I want to be a free man.”“ Don’t we all. Look. Be what you want--- white or black. Choose. But if you choose black, you got to act black, meaning draw your manhood up–quicklike, and don’t bring me no whiteboy sass.” Hunter’s Hunter and Godlen Gray Toni Morrison
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Do we not each dream of dreams? Do we not dance on the notes of lostmemories? Then are we not each dreamers of tomorrow and yesterday, since dreamsplay 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? Nathan Reese Maher
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Call me crazy, but there is something terribly wrong with this city. Nathan Reese Maher
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There is a stillness between us, a period of restlessness that ties my stomachin a hangman’s noose. It is this same lack in noise that lives, there! in thedarkness of the grave, how it frightens me beyond all things. Nathan Reese Maher
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I can’t help but ask, “Do you know where you are?” She turns to me with a foreboding glare. “Do you? Nathan Reese Maher
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Did Bach ever eatpancakes at midnight? Nathan Reese Maher
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History doesn’t start with a tall buildingand a card with your name written on it, but jokes do. I think someone is takingus for suckers and is playing a mean game. Nathan Reese Maher
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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. Nathan Reese Maher
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She leaves my side and heads deeper intothe apartment singing, “–if the spirit tries to hide, its temple far away… acopper for those they ask, a diamond for those who stay. Nathan Reese Maher
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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. Nathan Reese Maher
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That’s a stupid name! Whirly-gig is much better, I think. Who in their rightmind 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 youshould name it. Nathan Reese Maher
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A spiritual journey is becoming what one has always meant to be-come and always was. One with God's Spirit. Jazz Feylynn
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And the sculptors will shape the soil for the writers to stretch the seedsfor the patient painters who sketch the petals they will shade in alabaster and gold. Their sweat is the rain. Maybe the jazzman will send us a rose. Kristen Henderson
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Not long after we started working for him I asked Bernard if he thought Thatcher was evil, ' I said. 'He said it was like asking what jazz is. Jack Womack
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After a few sips, he picked up his sax and started jamming with the storm. Most days, Rivers meditated twice, when he awoke and again in the evening before writing or reading. But he still found a special relaxation and renewal in solitary playing. Contemplation through music was different from other reflective experiences, in part, because his visual associations were set free to mutate, morph, and meander; while the other senses were occupied in fierce concentraction on breathing, blowing, fingering, and listening. Within the flow of this activity, his awareness would land in different states of consciousness, different phases of time, and easily moved between revisualization of experience and its creation. The playing dislodged hidden feelings, primed him for recognizing the habitually denied, sheathed the sword of lnaguage, and loosened the shield and armor of his character. His contemplative playing purged him of worrisome realities, smelted off from his center the dross of eperience, and on those rare and cherished days, left only the refinement of flickering fire. Although he was more aware of his emotions, the music and dance of thought kept them at arm’s length, Wordsworth’s “emotion recollected in tranquility.” .As he played, his mind’s eye became the fisher’s bobber, guided by a line of sound around the driftwood of thought, the residue of his life, which materialized from nowhere and sank back into nothingness without his weaving them into any insistent pattern of order and understanding. He was momentarily freed of logical sequencing, the press of premises, the psycho-logic of primary process, the throb of Thought pulsing in and through him, and in billions of mind/bodies, now and throughout time, belonging each to each, to none, to no one, to Everyone, rocking back and forward in an ebb and flow of wishes, fears, and goals. He fished free of desire, illusion, or multiplicity; distant from the hook, the fisher, the fish; but tethered still on the long line of music, until it snagged on an immovable object, some unquestioned assumption, or perhaps a stray consummation, a catch in the flow of creation and wonder. Jay Richards
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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. Jordan Flaherty
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Twist a tongue, and tongue a twist how many twists can a tongue twister twist around the twisting tongue. Jazz Feylynn
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Twist a tongue, and tongue a twist how many twists can a tongue twister twist around their twisting tongue. If a tongue twister's tongue could twist, how many twists would the tongue twister's tongue twist while their tongue was a twisting. Jazz Feylynn
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The static’s nice. I could do without the screechi Peter Watts
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Welcome to Book-a-holic Anonymous.Hi, I'm Jazz and I am addicted to the written word. I love the smell of the blackest ink sliding across texture paper. My eyes squint against the loss of time within the pages of story. I don't think there's a cure for my compulsion to lose myself within life and times of those characters bound between the covers. Jazz Feylynn
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The ink line drawing flowed the cursive journey, created on paper canvas that brought the story to life. Jazz Feylynn
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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
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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. Wynton Marsalis
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Don't make a career out of underestimating me." – Claire de Haven James Ellroy
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My God, what a sensation to be an atom in the scheme of such grandiosity. The allurement, the jazz, and the physics of it all .. . Carew Papritz
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Tongue and hand tied, I was equally cut off and trapped in my own silent dark tomb. Jazz Feylynn
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Teachers' favorite color ink, splashed and dripped down his face a grisly reminder of mistakes bruising his life. Jazz Feylynn
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I noticed that religion gave some people a way to escape dealing with the world: “Things will be better when you die, ” the people of my grandma’s generation said as they worked themselves to death. “God wants you to forgive and love those who do you wrong, ” some people said to shake off the shame of being unable to respond to the abuse they endured. The holier-than-thou faction found comfort in believing, “The rest of y’all are lost because you don’t have a personal relationship with God–our God.” But art engages you in the world, not just the world around you but the big world, and not just the big world of Tokyo and Sydney and Johannesburg, but the bigger world of ideas and concepts and feelings of history and humanity. Wynton Marsalis
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We women, me and you. Tell me something real. Don’t just say I’m grown and ought to know. I don’t. I’m fifty and I don’t know nothing. What about it? Do I stay with him? I want to, I think. I want… well, I didn’t always… now I want. I want some fat in this life.”“ Wake up. Fat or lean, you got just one. This is it.”“ You don’t know either, do you?”“ I know enough to know how to behave.”“ Is that it? Is that all it is?”“ Is that all what is?”“ Oh shoot! Where the grown people? Is it us?”“ Oh, Mama.” Alice Manfred blurted it out and then covered her mouth. Violet had the same thought: Mama. Mama? Is this where you got to and couldn’t do it no more? The place of shade without trees where you know you are not and never again will be loved by anybody who can choose to do it? Where everything is over but the talking? - Violet Trace and Alice Manfred . Toni Morrison
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His eyes never blinked or wavered from mine, encompassing me in a field of control. Jazz Feylynn
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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. Unknown
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The Angel Gabriel disappeared once for sixty years and they found him on earth hiding in the body of a man named Miles Davis. Christopher Moore
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His eyes, if anything, gleamed even more bright, having found the treasure he sought. Jazz Feylynn
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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. . Geoff Dyer
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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
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But his own mind was helpless against every moment's headline. He did nothing but leap into the mass of changes and explore them and all the tiny facets so eventually he was completely governed by fears of certainty. He distrusted it in anyone but Nora for there it went to the spine, and yet he attacked it again and again in her, cruelly, hating it, the sure lanes of the probable. Breaking chairs and window glass doors in fury at her certain answers. [15-16] . Michael Ondaatje
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As I’ve said before, “the Mod generation”, contrary to popular belief, was not born in even 1958, but in the 1920s after a steady gestation from about 1917 or so. Now, Mod certainly came of age, fully sure of itself by 1958, completely misunderstood by 1963, and in a perpetual cycle of reinvention and rediscovery of itself by 1967 and 1975, respectively, but it was born in the 1920s, and I will maintain this. I don’t care who disagrees with me, and there are dozens of reasons that I do so –from the Art Deco aesthetic, to flapper fashions (complete with bobbed hair), to androgyny and subtle effeminacy, to jazz. Unknown
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One two, one two, Type a word or two. Arrow left, arrow right, Keep those fingers nice and tight. Keys up, Keys down, Move those digits all around. One two, one two, Type a word or two. Jazz Feylynn
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An inch of gold can't buy an inch of time Nicole Mones
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Widening blood puddles spilled from suffocating death wounds. Jazz Feylynn
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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. Unknown
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Jazz in itself is not struggling. That is, the music itself is not struggling... It's the attitude that's in trouble. My plays insist that we should not forget or toss away our history. August Wilson
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Jazz can be so serious, no sense of humor. Chad Smith
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I would love to do a biopic of a famous singer, like Diana Ross or Donna Summer, or an old jazz story that we haven't seen before. I would love to do that! I would love to play Diana Ross 'cause she's an icon. I'm salivating to do that. Taraji P. Henson
80
I've never studied the classics, but I'd like to. My teacher offered to show me how the Greeks were able to sculpt someone perfectly. From there, you can go off and experiment - sort of like jazz. Once you learn to play anything, you can break the form and go and do something even bigger. Channing Tatum
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I'm a freak, everything has to be totally flat when I play. Ed Will, my jazz teacher, set up everything completely flat, and then you'd tilt your snare drum away from you, so I do that too. So my snare tilts away from me. Travis Barker
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My strength is to communicate with an audience and to know what jazz singing is capable of. Kurt Elling
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I progressed through so many different styles of music through my teen years, both as a player and a vocalist, particularly the jazz and pop of the early 20th Century. Jeff Healey
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Jazz music is to be played sweet, soft, plenty rhythm. Jelly Roll Morton
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Jazz is a white term to define black people. My music is black classical music. Nina Simone
86
The blues. It runs through all American music. Somebody bending the note. The other is the two-beat groove. It's in New Orleans music, it's in jazz, it's in country music, it's in gospel. Wynton Marsalis
87
Jazz isn't dead yet. It's the underpinning of everything in this country. Whether it's a Broadway show, or fusion, or right on through classical music, if it's coming out of the U.S., it's not going to survive unless it's got some jazz influence. Dave Brubeck
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I love singing jazz. I don't like the idea that classical music should be over here and jazz should be someplace else. It's all wonderful, and we should be open to enjoying it all. Jessye Norman
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I'm saddened to see that everyone's pitched out the baby with the bath, in that we say that it can't be one or the other, it could be both. I mean, just because we listen to classical music doesn't mean that we can't listen to jazz. Don Bluth
90
Change is always happening. That's one of the wonderful things about jazz music. Maynard Ferguson
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The whole rise of new adult contemporary music and smooth jazz was a nice surprise. Kenny G
92
I find Indian music very funky. I mean it's very soulful, with their own kind of blues. But it's the only other school on the planet that develops improvisation to the high degree that you find in jazz music. So we have a lot of common ground. Mahavishnu John McLaughlin
93
I'd love to give my girls a traditional Thanksgiving with turkey and all that jazz, but we've raised them to love Tuscan food so much that they don't care for it. My favorite is a nice polenta with beef stew and broccoli rabe on the side. Debi Mazar
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I believe in dressing for the occasion. There's a time for sweater, sneakers and Levis and a time for the full-dress jazz. Ginger Rogers
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Life is a lot like jazz... it's best when you improvise. George Gershwin
96
I still love the whole history of jazz. The old things sound better than ever. Steve Lacy
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Jazz is a very democratic musical form. It comes out of a communal experience. We take our respective instruments and collectively create a thing of beauty. Max Roach
98
I looked back on the roaring Twenties, with its jazz, 'Great Gatsby' and the pre- Code films as a party I had somehow managed to miss. Hugh Hefner
99
I'm a very keen baker; I pride myself on my cakes. I go along the classic sponge line, but I like to jazz it up: I've made some psychedelic birthday cakes. Greg Rutherford
100
I wore a $30 vintage wedding dress for my 8th birthday in an underground jazz club in Seattle. This was what I wanted. Dove Cameron