WADADA LEO SMITH

When I first started, I worked with my father, Alex 'Little Bill' Wallace; he was a guitarist like B.B. King. I was around 13 when I started, and I learned a lot by looking and listening. I learned how to be a bandleader from watching that band work.

When Barack Obama was elected, it immediately brought out all the differences in society.

Jazz infers a style, but creative music has a wider field and wider specification about it. We know it from people like Scott Joplin and on through Bessie Smith.

There's nothing unnatural in creation.

The only thing that makes change possible is the idea of developing some kind of institution, because the institutions will survive individuals.

I don't set out to win awards. I don't think any musician does, but when you receive an award, it's an affirmation: it means that people appreciate what you do. Every award I have received is a confirmation of something I have done, and that motivates me to push a little harder.

I wanted to identify that the black experience is American experience.

All art is political. Yes. Even the stuff that sounds like bubble-gum songs. I think all art is, by nature, intended to motivate society for change, and the only reason change doesn't happen is because within the target population, courage is lacking.

I have been in dialogue with my family about what can actually be done. We've come up with this philosophy that in a truly multicultural society, the only way to have liberty and justice for everybody is to have multiple parties. And by multiple parties, I mean 50 parties, not one or two.

I've got that Beethoven energy, that Stravinsky energy. And it's all a gift from the Creator.

Everything and anything is valuable.

I'm an optimist. I have always been, and I will continue to be. So I believe there's always a possibility of transforming or changing or doing something different.

When Barack Obama was elected, it immediately brought out all the differences in society.

The artist is the consciousness of society... but musicians' role is very special.

Jazz infers a style, but creative music has a wider field and wider specification about it. We know it from people like Scott Joplin and on through Bessie Smith.

When I first started, I worked with my father, Alex 'Little Bill' Wallace; he was a guitarist like B.B. King. I was around 13 when I started, and I learned a lot by looking and listening. I learned how to be a bandleader from watching that band work.

I don't set out to win awards. I don't think any musician does, but when you receive an award, it's an affirmation: it means that people appreciate what you do. Every award I have received is a confirmation of something I have done, and that motivates me to push a little harder.

I don't set out to win awards. I don't think any musician does, but when you receive an award, it's an affirmation: it means that people appreciate what you do.

My solo playing utilizes the deployment of suggestive psychic rhythms. I'll state these throughout a given piece and play thematic improvisations on top of that. I like to suggest that rhythmic movement without always playing it. I like to create openings that I can step into.

I think all art is, by nature, intended to motivate society for change, and the only reason change doesn't happen is because within the target population, courage is lacking.

I've got that Beethoven energy, that Stravinsky energy. And it's all a gift from the Creator.

We have these old fashioned ideas. For instance, here in America, we talk about democracy - but we don't have a democracy. There are elements of a democracy.

I always felt of myself as a composer, performer, improviser. I've never called myself a jazz man. I make art.

I write all the time. I always have. I can pick up my horn to warm up, and an idea will pop into my head, and I'll write it down and file it away for another time.

There's nothing unnatural in creation.

I started composing when I was around 13, and back then, people used to say that I needed to be a composer or a performer, but I can't be good at both of them. I could never understand why anyone would say that. Jellyroll did both, Bessie Smith did both, and so did I.

I wanted to identify that the black experience is American experience.

Seeing the bigger picture opens your eyes to what is the truth.

All art is political. Yes. Even the stuff that sounds like bubble-gum songs. I think all art is, by nature, intended to motivate society for change, and the only reason change doesn't happen is because within the target population, courage is lacking.

The only thing that makes change possible is the idea of developing some kind of institution, because the institutions will survive individuals.

When you live in the South, you're constantly part of the civil rights movement.

From now back to the past, we can observe clearly that none of us is free.

I have been in dialogue with my family about what can actually be done. We've come up with this philosophy that in a truly multicultural society, the only way to have liberty and justice for everybody is to have multiple parties. And by multiple parties, I mean 50 parties, not one or two.