Wynton Marsalis Quotes Quotes

My mother always took my brothers and me to music lessons. There were six children. Our parents attended our concerts and encouraged us to study and enjoy many different types of music.
My schedule is always tight. But I like to have the pressure of having to finish doing something; it gives me an added edge.
My thing is, once you start to put a backbeat on your music or something that has a machine in it, you have popularity, but you lose the flexibility. And you lose a richness.
Swing is extreme coordination. It's a maintaining balance, equilibrium. It's about executing very difficult rhythms with a panache and a feeling in the context of very strict time. So, everything about the swing is about some guideline and some grid and the elegant way that you negotiate your way through that grid.
The blues. It runs through all American music. Somebody bending the note. The other is the two-beat groove. It's in New Orleans music, it's in jazz, it's in country music, it's in gospel.
The heart of a music is its rhythm. The heart of rhythm section music is the rhythm.
The history of jazz lets us know that this period in our history is not the only period we've come through together. If we truly understood the history of our national arts, we'd know that we have mutual aspirations, a shared history, in good times and bad.
The main three components are the blues, improvisation - which is some kind of element that people are trying to make it up - and swing, which means even though they're making up music, they're trying to make it up together. It feels great, like you're having a great conversation with somebody.
The majority of the high schools and the public schools in N.Y.C. don't even have band programs. Hip-hop in a lot of ways is an outgrowth of a lack of instruments and a desire to play music, so we can't really fault the kids for that.
There is an idea that a mind is wasted on the arts unless it makes you good in math or science. There is some evidence that the arts might help you in math and science.
There's always the cliche of the choir shouting and clapping. OK, you have to do that, but there's also introspective parts, parts where you just follow someone that's preaching. There's lots of different emotions and moods that a service requires.
There's so much spirit of integration and democracy in jazz.
Through improvisation, jazz teaches you about yourself. And through swing, it teaches you that other people are individuals too. It teaches you how to coordinate with them.
What I've learned how to do as I've gotten older is to take all of the information that I have, and push it aside, and try to distill each song into an emotional theme. The hardest thing that I've ever had to learn how to do in playing music is use the sound of my instrument to create an emotional effect.
When I was 12, I began listening to John Coltrane and I developed a love for jazz, which I still have more and more each year.
When me and my brother would go to see our daddy playing, there'd be 30 people in the audience. I was only 14 or 15, but I realised something was wrong.
When people dress well, they play well.
When you create change with your point of view, you have to be ready for what comes with that.
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AuthorName
Wynton Marsalis
Profession
Musician
BirthDate
18 October, 1961
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