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Jazz Quotes

“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. This kind of critical and democratic sensibility flies in the face of any policing of borders and boundaries of "blackness", "maleness", "femaleness", or "whiteness".”

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Book:Race Matters
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“If you asked what my favorite music is, I'd say the kind you'd hear while shopping for groceries on a Tuesday afternoon. That's just the kind of romantic I am. But when working around my ducks, I'm all business, like smooth jazz in a crowded elevator.”

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Book:Music is fluid, and my saxophone overflows when my ducks slosh in the sounds I make in elevators.
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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.”

PainGriefMusicSadnessSorrowSlaveryMiseryJazzBluesFrederick Douglass
Book:Narrative of the Life of Frederick Douglass
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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.”

ArtIdeasReligionHumanityEmpathyJazzSecular Humanism
Book:Moving to Higher Ground: How Jazz Can Change Your Life
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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.”

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Author:Nathan Reese Maher
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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.”

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Author:Jazz Feylynn
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“After a noticeable silence, he'd recently published a book of technically baffling poems, with line breaks so arbitrary and frequent as to be useless, arrhythmic. On the page they look like some of Charles Bukowski's skinny, chatty, muttering-stuttering antiverses. Impossibly, Mark's words make music, the faraway strains of an irresistible jazz. It's plain to any reader, within a few lines—well, go read the poems and see, Marcus Ahearn traffics with the ineffable. He makes the mind of the speaker present, in that here-and-now where the reader actually reads—that place. Such a rare thing. Samuel Beckett. Jean Follain, Ionesco—the composer Billy Strayhorn. Mark calls his process "psychic improvisation" and referred me to the painter Paul Klee; the term was Klee's. "You just get out a pen and a notebook and let your mind go long," he told me.”

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Book:The Largesse of the Sea Maiden
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“Jazz presumes that it would be nice if the four of us--simpatico dudes that we are--while playing this complicated song together, might somehow be free and autonomous as well. Tragically, this never quite works out. At best, we can only be free one or two at a time--while the other dudes hold onto the wire. Which is not to say that no one has tried to dispense with wires. Many have, and sometimes it works--but it doesn't feel like jazz when it does. The music simply drifts away into the stratosphere of formal dialectic, beyond our social concerns. Rock-and-roll, on the other hand, presumes that the four of us--as damaged and anti-social as we are--might possibly get it to-fucking-gether, man, and play this simple song. And play it right, okay? Just this once, in tune and on the beat. But we can't. The song's too simple, and we're too complicated and too excited. We try like hell, but the guitars distort, the intonation bends, and the beat just moves, imperceptibly, against our formal expectations, whetehr we want it to or not. Just because we're breathing, man. Thus, in the process of trying to play this very simple song together, we create this hurricane of noise, this infinitely complicated, fractal filigree of delicate distinctions. And you can thank the wanking eighties, if you wish, and digital sequencers, too, for proving to everyone that technologically "perfect" rock--like "free" jazz--sucks rockets. Because order sucks. I mean, look at the Stones. Keith Richards is always on top of the beat, and Bill Wyman, until he quit, was always behind it, because Richards is leading the band and Charlie Watts is listening to him and Wyman is listening to Watts. So the beat is sliding on those tiny neural lapses, not so you can tell, of course, but so you can feel it in your stomach. And the intonation is wavering, too, with the pulse in the finger on the amplified string. This is the delicacy of rock-and-roll, the bodily rhetoric of tiny increments, necessary imperfections, and contingent community. And it has its virtues, because jazz only works if we're trying to be free and are, in fact, together. Rock-and-roll works because we're all a bunch of flakes. That's something you can depend on, and a good thing too, because in the twentieth century, that's all there is: jazz and rock-and-roll. The rest is term papers and advertising.”

MusicSocietyJazzRock And Roll
Book:Air Guitar: Essays on Art & Democracy
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“The vocal chorus will be along shortly: I like that part especially and the abrupt manner in which it throws itself forward, like a cliff against the sea. For the moment, the jazz is playing; there is no melody, only notes, a myriad of tiny jolts. They know no rest, an inflexible order gives birth to them and destroys them without even giving them time to recuperate and exist for themselves. They race, they press forward, they strike me a sharp blow in passing and are obliterated. I would like to hold them back, but I know if I succeeded in stopping one it would remain between my fingers only as a raffish languishing sound. I must accept their death; I must even will it. I know few impressions stronger or more harsh.”

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Author:Jean-Paul Sartre
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“On making music, Herr Haller, on making music as well and as much as possible and with all the intensity of which one is capable. That is the point, Monsieur. Though I carried the complete works of Bach and Haydn in my head and could say the cleverest things about them, not a soul would be the bet- ter for it. But when I take hold of my mouthpiece and play a lively shimmy, whether the shimmy be good or bad, it will give people pleasure. It gets into their legs and into their blood. That's the point and that alone. Look at the faces in a dance hall at the moment when the music strikes up after a longish pause, how eyes sparkle, legs twitch and faces begin to laugh. That is why one makes music.”

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Book:Steppenwolf
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“Asch took from his bankruptcy an important lesson: he decided that he never wanted to record another hit record. In early 1949, he commented to an unnamed writer from People’s Songs (the newsletter of left-wing folk music) that he had “focused too much time and money on popular jazz” and from this point forward he would focus on “good records,” which would be “sold to a small circle of people who will buy them.”

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Book:Worlds of Sound: The Story of Smithsonian Folkways
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“I just find music to be one of the great creations of humankind. It breaks boundaries, it brings people together, and it seems to transcend differences. It bonds us to each other. It does all of that without regard for whether it’s jazz, or rocka- billy, or blues, or rock, or folk, or R&B, or soul, or gospel, or country, or classical, or whatever your genre of choice might be. It does all of that, whether it’s Vivaldi’s violins, or Paul Desmond’s haunting alto sax, or James Burton’s twangy guitar. It’s important stuff to us humans, and it’s important stuff to me.”

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Book:Fresh Start
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“I sleep in my sunglasses. They’re two miles away and I’m awake at the time, thanks to my ducks and their quacking and their loud jazz music in the early morning hours between 3-5 PM.”

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Book:One Out of Ten Dentists Agree: This Book Helps Fight Gingivitis. Maybe Tomorrow I’ll Ask Nine More Dentists.: A BearPaw Duck And Meme Farm Production
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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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Book:Dupree Blues
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“The unpolished rawness and uncompromising energy of hip-hop have their roots in slavery. Just like some of the sweetest forms of expression the human race has ever invented, like jazz and blues. They were born out of misery but were so infectiously captivating and full of such bold emotions that they permeated everything else -- contemporary music, fashion, art, the way people talk, the way people walk, the way people are.”

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Book:A Drop of Midnight: A Memoir
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