Sonny Rollins Quotes

But if I didn't have to make money, I would still play my horn.
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.
Even the most jingoistic person would have to admit that even American cultural music comes from Europe. That's what classical music is, real European music.
I am a person who thinks about the music first in trying to achieve something musically valid.
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 feel that L.A. has not always been my strongest base for support. That can be for various reasons.
I guess fortunate that I'm still around and I emphasize I guess because you never can tell what musicians would be playing had they been around as long as I have.
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.
I miss playing with Miles. I did play with him a little while before he left the planet, but even at that time I longed to maybe do some things together.
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 think the problem starts with the general appreciation of the music in the larger society.
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.
It's all about creation and surprise. It just needs to be appreciated and watered like flowers. You have to water flowers. These peaks will come again.
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.
Many jazz artists go to L.A. seeking a more comfortable life and then they really stop playing.
My mother came from St. Thomas. I heard that melody and all I did was actually adapt it. I made my adaptation of sort of an island traditional melody. It did become sort of my trademark tune.
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AuthorName
Sonny Rollins
Profession
Musician
BirthDate
07 September, 1930
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