Jazz Band Quotes
The best sayings about Jazz Band that you can share on Instagram, Pinterest, Facebook and other social networks!
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I haven't a great Jazz band and I don't want one.
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I was a jazz major in high school, in an all-jazz band. No matter what I do, it features my musical influences.
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I think the key that differentiates the good actors from the mediocre ones that are still trying to come up, is that the good ones know how to listen. It's like being in a jazz band. They know how to listen to what the other musicians are playing. And where to come in and where to sit out. That's my approach to being in an ensemble cast and working with any kind of actors in a scene.
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At Carnegie Hall the Preservation Hall Jazz Band showed how easily it could hop from era to era. It could work like a rhythm-and-blues horn section or a tightly arranged little big band if need be, but it could also switch back into the polyphonic glories of vintage New Orleans jazz, in which nearly every instrument seems to improvise around the tune at the same time.
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I used to sing with my father's jazz band and then when I was ten years old a musician friend of his suggested that I try out for the first west coast production of Annie.
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And I played in jazz band as well during all three years in school.
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It's true I've always been attracted to the jazz band in an orchestral way, rather than a band way.
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I was in every band class I could get in, like after school jazz band and marching band, and that's where I really learned to read music from elementary all the way through junior high and high school.
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I suppose subconsciously I was thinking in terms of having the scale of it matching the scale of the images. Hence the sort of string quartet, jazz band and electronic stuff.
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If I don’t practice for a day, I know it. If I don’t practice for two days, the critics know it. And if I don’t practice for three days, the public knows it.
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Communication is the essential medium of a creative culture: the communal sea in which we all swim. A company that can't communicate is like a jazz band without instruments: Music just isn't going to happen.
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Don't clap I'm not a jazz band for Christ's sake.
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There are so many parts of music that it's actually a pleasure for me to work with an orchestra, or a jazz band, or a choir, and use every element that the musical tool box can offer. The world of music I love so much, and I can change the costume depending on the part, and I'm actually in the film.
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When I was young, I never bought records because my brother Joseph played saxophone and had a record player. I loved listening to his records: The Dorsey Brothers, Duke Ellington, all the big American jazz bands, and vocalists like Ella Fitzgerald, Ernestine Anderson, and Kitty White, a singer from the US who was a friend of Nina Simone. Nobody in America seems to know about her, but she was quite popular in South Africa.
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My dad was a jazz fan and he used to have lots of old 78s, so I grew up with big jazz bands and the likes of Duke Ellington and Count Basie - although I really liked show tunes from those big musicals as well. I've always kept my ears open, as it were, when it comes to music. It doesn't matter to me what type of music it is. If I like it, I'll listen to it.
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Shared leadership... is less like a an orchestra, where the conductor is always in charge, and more like a jazz band, where leadership is passed around ... depending on what the music demands at the moment and who feels most moved by the spirit to express the music.
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Now, the instrumentation in the jazz band and the jazz dance band has gone through many evolutions. For instance, in the 'twenties the tradition was two or three saxophones
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The jazz band's chief stimulus, of course, was the rise of the negro 'blues' and their exploitation by the negro song-writer, W. C. Handy.
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It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.
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Around middle school I studied jazz guitar and ended up playing in a jazz band for a bit. But, after high school, I haven't even touched a guitar.
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I haven't got a great jazz band and I don't want one. Some of the critics, Down Beat's among them, point their fingers at us and charge us with forsaking real jazz . . . It's all in what you define as 'real jazz.' It happens that to our ears harmony comes first. A dozen colored bands have a better beat than mine. Our band stresses harmony.
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The aim of jazz is the mechanical reproduction of a regressive moment, a castration symbolism. 'Give up your masculinity, let yourself be castrated,' the eunuchlike sound of the jazz band both mocks and proclaims, 'and you will be rewarded, accepted into a fraternity which shares the mystery of impotence with you, a mystery revealed at the moment of the initiation rite.
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I was 16 when I came to New York. I had graduated to a tenor banjo in the school jazz band, and it was kind of boring - just chords, chords, chords. Then my father took me to a mountain music and dance festival in Asheville, North Carolina, and there I saw relatively uneducated people playing great music by ear.
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If anybody was Mr. Jazz it was Louis Armstrong. He was the epitome of jazz and always will be. He is what I call an American standard, an American original.
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My songs were influenced not so much by poetry on the page but by poetry being recited by the poets who recited poems with jazz bands.
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I've played drums since I was 15. My sisters and I all played instruments. I kind of started with piano and then I actually played saxophone with a jazz band in middle school. So, any knowledge I had of jazz music was from playing alto-sax back then.
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I had 12 years of classical music as a child, playing piano competitions as a teenager, playing in blues bands and rock 'n' roll bands, country and jazz bands. I played in about any situation.
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If you have to ask what jazz is, you'll never know.
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My brother Leon started it all. He played the piano. In school they made me leader of the orchestra because I played the violin, but I followed Leon and the boys in his jazz band around.
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[On John Tunnard:] One day a marvelous man in a highly elaborate tweed coat walked into the gallery. He looked a little like Groucho Marx. He was as animated as a jazz-band leader, which he turned out to be. He showed us his gouaches, which were as musical as Kandinsky's, as delicate as Klee's, and as gay as Miró's.
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Top Authors
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Leonard Krieger Author
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Lloyd Kenyon, 1st Baron Kenyon Barrister
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Lou Campanelli Basketball Coach -
Leonard Marx Comedian -
Leonard Adleman Computer Scientist -
Leonard Roy Frank Editor -
Leslie Bibb Fashion Model -
Lionel Jospin Former Prime Minister of France -
Lori Greiner Inventor -
Lonni Collins Pratt Journalist
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Liza Featherstone Journalist -
Lillian Bassman Photographer -
Libby Copeland Reporter
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Linda Martin Singer -
Leona Lewis Singer-songwriter -
Leonard Cohen Singer-songwriter -
Lisa Marie Presley Singer-songwriter -
Lisa Germano Songwriter
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Lesley Roy Songwriter
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