NORMAN GRANZ

I don't say that the supposed Civil Rights development is a myth, but it's a matter of dealing with reality. It's purely peripheral and, in many cases, it's just a facade.

I find myself more at peace when I live in Europe.

Ellington is a writer and arranger, as well as a musician and leader. He does movie sound tracks.

The public, hearing pop music, is, without knowing it, also soaking up jazz.

My juices needed restoring. I needed a sabbatical from the record business.

Sponsors and networks will really go all out and simply evaluate people on the basis of talent.

I made it easier for many artists to play in certain areas.

In 1958, I decided that I was going to live in Europe permanently. So in 1959 I moved to Lugano, Switzerland.

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.

I don't think I will ever do any tours again in the United States. I rather think that that's over with.

When I was doing jazz concerts in America, I would use the biggest names I could find.

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.

My function at Verve was that of a genuine producer in artists and repertoire.

The record companies are interested in the kind of sales they can get from the rock groups.

Amsterdam must have more than a million people. But the only area where jazz is really profitable and successful in an economic sense is in Japan. That's because they haven't been exposed enough.

If you look at my audiences, even in Europe, they're hardly teenagers.

If I were to put on Barbra Streisand and Duke Ellington, one might say the combination isn't good.

For years, Jazz At The Philharmonic albums were the only ones of their kind.

Ella can work nightclubs that Duke might not be able to work, because of having the big band. Where they go now is strictly a matter of their own names and talents.

I'm talking as a professional impresario. I'm not judging anybody at all.

I allowed artists to play for as long as they felt they could justifiably continue to create.

Jazz was uplifted by what I did.

I'm concerned with trend. I don't know where jazz fans will come from 20 years from now.

The history of all big jazz bands shows was, first they played for dancing, and then they played for singing.

As long as we're in a democracy, I have to give what I think the majority of people will enjoy.