My juices needed restoring. I needed a sabbatical from the record business.
I'm talking as a professional impresario. I'm not judging anybody at all.
If you look at my audiences, even in Europe, they're hardly teenagers.
In 1958, I decided that I was going to live in Europe permanently. So in 1959 I moved to Lugano, Switzerland.
My function at Verve was that of a genuine producer in artists and repertoire.
Sponsors and networks will really go all out and simply evaluate people on the basis of talent.
The economic picture in the States today doesn't allow for jazz concerts in a tour fashion. People now are too used to the Festival, which gives them more names for the same price.
To play today in London, next week in Madrid and the week after that in Warsaw is a bit better than playing Newark and Baltimore and Philadelphia. I've been doing that for 20 years.
You will always find a few people in any area that would like things done completely their way.
Jazz was uplifted by what I did.
When I was doing jazz concerts in America, I would use the biggest names I could find.
The history of all big jazz bands shows was, first they played for dancing, and then they played for singing.
There are very few groups that really stay together. The leaders of groups make enough money to be able to afford to work a maximum of 35-40 weeks a year.
There are many artists that I present that I admit I like less than I do others. But I think that they warrant being presented by my own, personal standards.
The record companies are interested in the kind of sales they can get from the rock groups.