Pastoral Resources

I listen to jazz and gospel... yeah that's basically what I listen to.

What I can say is that for may years jazz musicians had to go to Europe, for instance, to be respected and to be sort of treated not in a discriminatory way. I don't think there is anything controversial about me saying that. This is just a fact.

Jazz has an audience all around the globe and has had for many decades, I think speaking of the United States, let's say that what we need is more of an official recognition.

I think we are in the midst of this period where we are committing this suicide on the planet and everybody is just using up all of our natural resources like a bunch of insane people. That's what I worry about more than I worry about jazz.

I think what we need is a more welcoming mode from the people who put on a hundred million country-western shows on television. How about a monthly jazz show?

I've played with all of the heavyweights in the modern jazz, progressive jazz movement. I've been fortunate enough to play with them, a who's who. All of those guys, I've been fortunate enough to have performed with.

Many jazz artists go to L.A. seeking a more comfortable life and then they really stop playing.

You had many jazz musicians who lived in the United States, who had a hard time being accepted over here and had to play in sort of these inferior type dives.

There was a period which I refer to as the 'Golden Age of Jazz,' which sort of encompasses the middle Thirties through the Sixties, we had a lot of great innovators, all creating things which will last the world for a long, long time.

Europeans really provided many venues over there and hailed the jazz artists, and a lot of musicians went over there and stayed over there for a long time. A lot of them moved over there, lived over there, and died over there.

I think as long as people are around and can hear a record and hear people like Lester Young on a recording, there will always be a great inspiration for somebody to try to create jazz.

I don't want to appear hostile, like I'm hostile to L.A. or that I feel that the people don't appreciate jazz. I don't think it's that. I think it's something more. It's something a little bit more complicated than that.

I enjoy playing clubs. I still enjoy the closeness of the nightclub venue. However, after a certain period of time and after playing around some of the clubs in New YorkI felt that jazz should be presented in a more prestigious atmosphere.

I have always been a person who is concerned with the dignity of jazz music and the way jazz musicians have been treated and are treated, and the fact that the music has not been given the kind of due that it deserves.

I have seen great jazz musicians die obscure and drinking themselves to death and not really being able to get any work and working in small, funky jazz clubs.

Most of what I listen to now is mainstream jazz from 1935 right up to and including early bebop and cool jazz.

I cut myself off from the mainstream of jazz. It stood me in good stead later on, as a musician.

There is an apprenticeship system in jazz. You teach the young ones. So even if the musicians weren't personally that likable, they felt an obligation to help the younger musicians.

Writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz. Much of the time life is a sort of rhythmic progression of three characters. If one tells oneself that life is like that, one feels it less arbitrary.

Jazz music is an intensified feeling of nonchalance.