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@jazzwordsofwisdom-blog
Most of the jazz players I know have only benefited from their experience and training with classical music. I recommend listening to, learning and studying as much quality music as possible, irrespective of style or category. The wider range of musical languages you are familiar with and the greater comfort and control you have with your instrument, the more resources you will be able to draw upon as a jazz improviser
Joshua Redman
I could make an album where I’m the one who takes all the killing solos, but I just think that if everybody feels responsible for the music, then the music will sound better.
Ambrose Akinmusire
You have to put yourself at the service of the melody...Your solos should expand the melody or contract it
John Lewis
You gotta have the wedding of head and heart. Your technique has to be up to par so that when inspiration fails, technique saves you. And you may have inspiration but you gotta have the technique to execute. It's left and right brain, intellect and emotion. The combination makes for the best art. When you practice, that's the conscious mind. You're learning mundane things: academics, the idiom, instrumental technique. But when you perform, you should play from the unconscious mind.
Charles McPherson
When you're practicing, it's about being self-conscious. You want to be conscious of what you're doing and make it better but when you actually get in an improvisational context you want to be able to throw all that away and enter some kind of other state.
Chris Potter
I was an annoying kid that would go to all the concerts and have no qualms about asking a bunch of questions. Even today, I don’t recognize hierarchies. When Wynton [Marsalis] was in town, he was just a normal dude that I could ask questions of. That gave me access to people like Roy Hargrove, Nicholas Payton; all these trumpet players I learned so much from. I played with Joe Henderson and Billy Higgins and Sonny Simmons and Eddie Marshall.
Ambrose Akinmusire
There was an aura of intellectuality in Barry (Harris)'s house. Barry would do the New York Times crossword puzzle every day, and he'd zip through it. He was a reader. One day I came home from school and I had my report card, and he asked to see it. I was a C student; I didn't try for anything more than that. He saw the C's and he said, 'You're quite average, aren't you?' I said, 'Well, I'm passing.' He said, 'You can't be average and play the kind of music you're trying to learn. There's too much going on. Charlie Parker is not average. Your heroes are above average.' It was like a little epiphany. It totally changed my life. I put in more effort and instead of being a C student I got A's. I started getting interested in literature. I read Henry Miller's 'Tropic of Capricorn,' and I started reading philosophers, for instance, Francis Bacon, Kant, Schopenhauer. In Detroit, in this bebop niche we had, to be considered hip meant that you had to know about Charlie Parker and people like that, but you also had to know about Kant and Schopenhauer, Nietzsche and Bertrand Russell, and you had to know about art. We were like 17. People like Barry and Pepper Adams were so smart that we learned about bebop and all that. But they were able to say, 'Oh, Marc Chagall painted that.' That influenced us.
Charles McPherson
For young bass players, my advice is always the same: take lessons from advanced bass players! Usually, bassists are the least educated musicians on the bandstand. That's because if you play some bass, you can get some work. Bands sometimes don’t improve because the bass players aren't really learning on the job. All bass players should study harmony and music whenever they can.
Ron Carter
Ambrose Akinmusire
When you hit those personal milestones, is it reflected in the music?
Exactly. I focus on those because if you have milestones in your life, it affects your music, but if you have milestones in your music, it doesn’t necessarily affect your life. If I can play “Giant Steps” in 12 keys, it’s not going to make me a better man!
It is true of any subject that the person that succeeds in anything has the realistic viewpoint (of difficulty) at the beginning and knowing that the problem is large and that you have to take it a step at a time, you have to enjoy this step-by-step learning procedure.
Bill Evans talking about the creative process
A tribute to Robert Glasper by BADBADNOTGOOD. And the drummer talks about his hate for Giant Steps at the end.
Master your instrument. Master the music. And then forget all that bullshit and just play.
Charlie Parker
Bill Evans describes his idea of the nature of jazz and improvised music.
It's always been a gift with me, hearing music the way I do. I don't know where it comes from, it's just there and I don't question it.
Miles Davis
The six years I was with Miles, we never talked about music. We never had a rehearsal. Jazz shouldn't have any mandates. Jazz is not supposed to be something that's required to sound like jazz. For me, the word 'jazz' means, 'I dare you.' The effort to break out of something is worth more than getting an A in syncopation.
Wayne Shorter
It’s taken me all my life to learn what not to play.
Dizzy Gillespie
The most important thing I look for in a musician is whether he knows how to listen.
Duke Ellington