Risk is at the heart of jazz. Every note we play is a risk.
Jazz is people's music, a collectivity.
Jazz is like wine. When it is new, it is only for the experts, but when it gets older, everybody wants it.
There is an awful lot of what I call recreational jazz going on, where people go out and learn a particular language or style and become real sharks on somebody else's language.
I didn't plan on rock-n-roll. I wanted to learn jazz; I got to know some people doing rock-n-roll with jazz, and I thought I could make some money playing music.
My first guitar, a Fender Jazz Master, I traded it in for a Les Paul Deluxe.
Blues and jazz pulled me away from what was left of my family.
I was considered as a jazz man rather than as a blues player. There were no blues players-you played one sort of jazz of another sort of jazz.
As long as there are people trying to play music in a sincere way, there will be some jazz.
Bernstein grew up in my building in New York. He's a very, very fine player. When he was a kid, he came by to find out what was going on in the world of jazz.
I listen to classical music very much. There's a lot of jazz that I don't enjoy listening to.
Most jazz players work out their solos, at least to the extent that they have a very specific vocabulary.
Jazz is the big brother of the blues. If a guy's playing blues like we play, he's in high school. When he starts playing jazz it's like going on to college, to a school of higher learning.
Sometimes you need to stand with your nose to the window and have a good look at jazz. And I've done that on many occasions.
The whole world loves American movies, blue jeans, jazz and rock and roll. It is probably a better way to get to know our country than by what politicians or airline commercials represent.