Jon Gordon Quotes - Page 3

By the latter part of high school, by the middle of junior year in high school, Jay Rodriguez played me some Irakere records that that Paquito [D'Rivera] was on. And he also played me and our friend, Curtis Haywood, some Phil Woods records. And when I heard Phil, I just about lost my mind. I was playing the Charlie Parker Omnibook as part of my lessons. This was the '80s. There was no YouTube and all that. And we had three or four jazz records at that point.

One negative person can create a miserable office environment for everyone else.

It's not easy to deal with the negativity in the world but it's something that's got to be done. Your success and life are so important that you must surround yourself with a positive support team.

Phil [Wood] said to me in the car going back, he said, "Look man, you better know why you're playing this music. Because I've known too many who lived and died for it. And if you're not trying to change the world, I'm not interested."

Letting people share their gifts and strengths is real love.

Enthusiasm attracts more passengers and energizes them during the ride.

Dust on gold doesn't change the nature of gold.

Everybody wants the quick fix, but it doesn't happen overnight. You have to be willing to put it out there. I call it 'the secret to being an overnight success,' which means there really isn't a such thing as an overnight success. ! The secret is you work really hard for 10 years, and then you become an overnight success.

Barry Harris had a club called Jazz Cultural Theater and there were sessions there on a regular basis. I remember being there and sitting in with [Charles] McPherson and Barry being there, and just smiling at me. He didn't talk to me much at the time, he just came up and gave me a smile, which meant a lot. I've since gotten to know him and been around him a little bit.

I was really falling in love with jazz and dedicating myself in that direction.

I just lucked into a lot of good people man. In my life and through friends, and in the music, that really embraced me and took care of me. I'm a lucky guy.

A tenor player named Bud Revels there at the time. A lot of really nice associations amongst the students. Garry Dial was a returning student. He actually got me on Red Rodney's band subbing a little bit. I gigged some with Red when I was 21 in 1988. So I had a lot of nice associations that came from [ Laguardia School of Arts]. But a lot of my education was going on in the clubs. Hearing music and sitting in.

I got to perform the [Jaques] Ibert Concertino Da Camera with a brilliant pianist at school named Chunga. I got to perform the [Alexander] Glazunov Concerto in senior year with our school orchestra and the Jewish Grossman orchestra. I won a scholarship from the Goldman band to perform the [Paul] Creston Concerto. Which I never played with them, but they still gave me the money.

You fuel your life with trust and love instead of fear and doubt.

Joe Henderson with Ron Carter and Al Foster at the Vanguard was just wow. And the energy of the three of them.

I don't know that there was a moment, like one specific moment where I was like "Ugh. Now what do I do?" I was just always like, "I'm just in here and if I have to fight with myself or ask for help or just be lost for a little while, but I'm just going to keep looking." Because music was all I had.

I was occasionally getting calls for some things. But I would say, 22 to 29 was a lot of scuffling. Hoping to get called for bad wedding gigs and I did do an off-Broadway show for about 15 months.

[Charles McPherson] was kind enough to go to a record gig of mine where we recorded a song of his.

I never got discouraged for long, but we all got our butts kicked musically.

It's very unlikely you're a genius, but, if you're ready to work at it hard and you want to listen to music all the time and you want to learn about it and you want to be around the people who do it, you'll find your own way.

I definitely had some moments, where, "Wow, these were some hard chords" on some gig.

The light went on when I heard Phil [woods] play, and I went like, "That is why I'm playing the instrument." So I got very inspired, I started going to clubs through a friend's mom in the city, again, another person who just completely opened all these doors for me and it was amazing how kind she was.

Definitely I had a lot of times where I was really hard on myself. Really frustrated. But I never felt like I had someplace else to go. Just had to stay here and deal with this.

When I was 13, 14, 15, I had played in a couple of jazz ensembles. I didn't know anything about harmony, about II-V-I, though I had learned my scales with Caesar [DiMauro].

I had a lot of bad habits in how I was playing the horn. And I slowly, in high school and college, started to recognize them and get them a little better. But it was not an overnight process, I'll say that.