With rock music, the amount of power that you can generate, the intensity behind the intentions of your lyrics that you can really reflect through rock music - you can't do that in jazz. You can't do that with classical.
It quickly becomes apparent that in the gray area between jazz, R&B and soul, Tony Adamo is one of the top voices.
What kills me is that everybody thinks I like Jazz.
I couldn't get my album played over the so-called smooth jazz stations. Jazz stations would not play it. You don't always know who you're making that soul connection with.
People are always defining and re-defining music. My style of playing has been characterized as smooth jazz and acid jazz. I listen as I play; I'm not caught up in defining the type of music I play.
After I exhausted the blues thing, I got into jazz.
I can turn on some jazz guitarist, and he won't do a thing for me, if he's not playing electrically. But Jeff Beck's great to listen to.
I've always wanted to record a jazz record. I did one in the '70s with Barbara Carroll. It's been a journey.
Our intention is to not only attract the hardcore jazz fan, but we're doing it in such a way that it will also be easy to take for those who are not necessarily steeped in the ways of jazz.
On set, the playground for the character, how much it takes varies. Is it like ballet, is it like jazz? The content always lends itself to the form, and it's really not mathematics.
Jazz music will continue to thrive, possibly in unexpected ways.
I also like Western classical music and jazz.
The public, hearing pop music, is, without knowing it, also soaking up jazz.
For years, Jazz At The Philharmonic albums were the only ones of their kind.
I don't think that jazz, as any kind of an art form, has any permanence attached to it, apart from the practitioners of it.
The whole reason for Jazz at the Philharmonic was to take it to places where I could break down segregation.
I've learnt new scales through playing different types of music, like Indian raga scales, gipsy scales and harmonically-based jazz scales.
Fortune ought to be a National Endowment for the Arts Jazz Master.
My main influences have always been the classic jazz players who sang, like Louis Armstrong and Nat King Cole and Jack Teagarden.
A friend told me he'd risen above jazz. I leave him there.
Trombone virtuoso and innovative composer, Papo combines the best of jazz and Latin music to create a genre that is unique and wild. He's redefined Latin jazz!
To me, nostalgia is nothing more than a mindless plundering of the past for the commonplace.
The wonderful thing about Jazz is its willingness to take chances.
Jazz is what I play for a living.
I'd like to feel that whatever I play is a result of whatever I've heard.
