“When I started doing improvise music in Europe, in the beginning I thought the way that Europeans were interpreting the reconstruction of deconstruction of this thing that we call jazz - of course it's different than what Americans do, because Europeans have a different history, a different sensibility and so forth - the nature of the creative process itself it's the same; but what comes from that creative process is different, because you have a different history, you have a different society, different language.” WayDifferentCoursesLanguageProcessCreativeEuropeJazzCreative ProcessSensibilityReconstructionInterpretingDifferent LanguagesDeconstruction Author:Hamid Drake
“There's been this perception that Europeans still hold on to, that they discover the real talented ones in American culture and give them proper credit and that's not true anymore - it used to be. A lot of jazz musicians would get respect in Europe.” GivingStillsRealUsedCulturePerceptionMusicianEuropeJazzCreditUsed To BeAmerican CultureJazz MusicJazz Musician Author:Andrew Bird
“I think jazz was just seeking respect and validity because a lot of people didn't believe it was a viable art form, and then they got a lot of attention in Europe. A lot of bands that can't catch flies in the US have these followings in Europe, [but] it's less and less the case. American audiences are way more sophisticated and adventurous than anyone thinks that they are.” PeopleThinkingWayBelieveArtFormAttentionCasesAudienceBandEuropeJazzSeekingFollowingSophisticatedAdventurousValidity Author:Andrew Bird
“It started so early, it all runs together. But what made a huge impact on me was when I went to Europe at 15 or 16 years old. All I knew before that was music on the radio and TV. When I went over there I realized there are all different levels of music. There are people who do blues, jazz, classical, working in film, TV and all kinds of places. You might not see them on MTV but there are lots of needs and uses and opportunities for all kinds of music.” PeopleNeedsYearsKindMadeDifferentUseMightRunningTogetherFilmOpportunityLevelsTvsHugeEuropeImpactJazzRadioI RealizedAll KindsMtvDifferent Levels Author:Chris Thomas King
“Yes, there's a relaying of internal states that only a novel can achieve. In my view, the novel is one of Europe's greatest gifts to the world. America and Africa collaborated to give the world jazz. We'll call it even.” WorldGivingStatesAmericaViewsNovelAchieveEuropeJazzInternalsGreatest Gifts Author:Teju Cole
“I was interested in the ways that artists responded to totalitarianism - the Czech Jazz Section, Romanian absurdist theatre, Brecht's alienation effect. The anything-goes, anarchic qualities of jazz and Surrealism seemed to offer a way to cross some of the forbidden frontiers of Eastern Europe.” WayArtistQualityEffectsOffersEuropeCrossesJazzTheatreSectionsEasternForbiddenAlienationFrontiersTotalitarianismSurrealismEastern EuropeCzechAnything GoesBrecht Author:Nicholas Royle
“Europe was a very contentious subject in literature and yet jazz musicians still depended on Europe. Now it's not such a big deal.” StillsBigsLiteratureDealsSubjectsMusicianEuropeJazzBig DealJazz MusicJazz MusicianContentious Author:Darryl Pinckney
“I did, I was in Europe a lot. I would say, mid 20s to late 30s. Less so in the last ten or twelve years. Based on some political stuff and other things, I think I'm not the only musician, the only American jazz musician that's not going to Europe quite as much. I think we're seen a little differently in the world, unfortunately, than we were pre-Iraq invasion and things like that.” ThinkingWorldYearsLittlesLastsPoliticalStuffTenLateMusicianEuropeJazzIraqTwelveInvasionJazz MusicJazz Musician Author:Jon Gordon