Quotes of All Topics . Occasions . Authors
To me, the piano in itself is an orchestra.
Improvisation is the ability to talk to oneself.
Rhythm is the life of space of time danced through.
To feel is perhaps the most terrifying thing in this society.
Lena Horne - when she walked onstage, she really was Erzulie.
Doesn't that fool know I recorded that song because I like it?
I try to imitate on the piano the leaps in space a dancer makes.
Fats - very funny man, but every note that he played was like a pearl.
The quality of life, values that go down to doin' that, that's the issue.
Sometimes when it goes really well, you wonder, "who's that at the piano?"
Mother, being a pianist, told me how to play with my fingers on the piano.
You know what the material is so that you never play it the same way twice.
I discovered very early that it wasn't quite enough for me to imitate people.
When you play, when you perform, it might be for the last time, so you got to do it.
When I came out of the conservatory, the first thing I did was to go see Thelonious Monk.
I've always tried to be a poet more than anything else. I mean, professional musicians die.
You must surrender whatever preconceptions you have about music if you're really interested in it.
Find one note on the instrument that pleases you, and then find another note that also pleases you.
I am not afraid of European influences. The point is to use them, as Ellington did, as part of my life as an American Negro.
If you take the creation of music and the creation of your own life values as your overall goal, then living becomes a musical process.
I understand about the relative strengths of people, and I don't think people have to be anything. They can be nothin' if they want to be.
Before he fought Billy Conn, Joe Louis said, 'He can run, but he can't hide.' That's how I feel about New York: You can run from it, but you can't hide.
Someone once asked me if I was gay. I said, 'Do you think a three-letter word defines the complexity of my humanity?' I avoid the trap of easy definition.
They say, 'We will give you money, but we want you to play this or that.' And I always thought, 'If I'm going to do that, I might as well go back and be a dishwasher.'
The first record I made, when I listen to it, I understand. I understand perfectly well why certain musicians were unhappy with me. I had to decide: was I unhappy with me? I liked it. If they didn't like it, it was on them.
When you think about musicians who are reading music, my contention has always been the energy that you're using deciphering what the symbol is is taking away from the maximum creative energy that you might have had if you understood that it's but a symbol.
The emphasis in each piece is on building a whole, totally integrated structure. In doing this, we try to carry on - in ensemble as well as solo sections - the mood of a jazz soloist. I mean that principle of kinetic improvisation that keeps a jazz solo building.
In short, [Coltrane's] tone is beautiful because it is functional. In other words, it is always involved in saying something. You can't separate the means that a man uses to say something from what he ultimately says. Technique is not separated from its content in a great artist.
I'm saying that people who are enmeshed in situations of subjugation and have to live, have to find ways to project their dignity as human beings - in spite of all the efforts of those around them to degrade them - I'm saying that this music is the manifestation of the dignity in the life that has always been present.