Van Morrison Quotes

What I would really like to have been, given a perfect world, is a jazz pianist. I mean jazz. I don't mean rock and roll. I mean the never-the-same-twice music the American black people gave the world.

The Armstrong record that I personally like the most, is a recording of a song by Harold Arlen called, "I Got a Right to Sing the Blues" . Most of Armstrong's solos tended to stick pretty close to the melody. But for some reason, it's like he let go of the tether and suddenly he's playing this beautiful high, almost abstract line that's floating above the beat. I compare it to the way that a 19th century operatic tenor might have sang an Aria because he's just completely let loose of the background and he's making this magic sort of flying above the staff.

I did Bronislaw Kaper's tune. He wrote "On Green Dolphin Street." I mean, I did all those ballads, all them ballads from South America. All those tunes - the guitar concerto on Sketches Of Spain. All those are Spanish melodies. Some of them we made up ourselves.

I always tell my students when you're going to be a jazz musician the first thing you've got to do is be a professional musician, and that means you have to feed yourself with the instrument.

I remember when the Titanic sank in 1912, it was the ship that was supposed to be unsinkable. The only thing it ever did was sink. When it took off from England, all kinds of passengers were aboard - millionaires, celebrities, people of moderate means, and poor folks down in the steerage. But a few hours later when they put the list in the Cunard office in New York, it carried only two categories - lost and saved. Grim tragedy had leveled all distinctions.

It was kind of an amazing class. I went to the Strasberg Institute in New York for a little while after I got there, and I've never seen anybody who was in any of my classes there ever again. I mean, that's not to say they didn't become somebody. I'm not sure. I mean, Sam Jackson could've been in my class, for all I remember.

Jazz to me is the spirit of freedom. I mean real freedom. Freedom to explore. Freedom to express. Freedom to pour out your guts.

Get rid of the guns. We had the Second Amendment that said you have the right to bear arms. I haven't seen the British really coming by my house looking for it. And besides, the right to bear arms is not an absolute right anyway, as New York's Sullivan Law proves. We talk about ourselves as a violent society, and some of that is right and some of it is claptrap. But I think if you took away the guns, and I mean really take away the guns, not what Congress is doing now, you would see that violent society diminish considerably.

Introvert conversations are like jazz. Each player gets to solo for a nice stretch before the other player comes in and does his solo.

Solos are like sex, so it's surprising to me that there aren't more guys playing them

New York seems conducted by jazz, animated by it. It is essentially a city of rhythm.

Man, you weigh a freaking ton. What have you been eating, rocks?" * Max: "Why, is your head missing some?" o Chapter 68 p. 214 + Fang carried Max while flying after she had "a stroke or something". Gazzy: "I vill now destroy de Snickuhs bahs!" ter Borcht: "Is dere anysing special about you? Anysing vorth saving?" Fang: "Besides my fashion sense? I play a mean harmonica.

Nelson Mandela was in jail when I was really young, and Winnie Mandela was one of the biggest faces of the movement. In South Africa we have a common phrase - it's like a chant in the street and at rallies: "Wathint' abafazi, wathint' imbokodo." Which means, "You strike a woman, you strike a rock."

Carolyn Maloney identifies with the possibility of being raped, that's why she hung in there for the Debbie Smith Bill. So it - it's essential that in New York, if we can't get a prominent woman in New York, where can we? I mean there's so many states that have never even had a woman senator. We're still on our first this and our first that.

Molly Notkin often confides on the phone to Joelle van Dyne about the one tormented love of Nokin's life thus far, an erotically circumscribed G.W. Pabst scholar at New York University tortured by the neurotic compulsion that there are only a finite number of erections possible in the world at any one time and that his tumescence means e.g. the detumescence of some perhaps more deserving or tortured Third World sorghum farmer.

I think that, just like the art scene and the music scene is exploding in LA - I mean, let's face it: if you want to be an artist you cannot live in New York anymore because it is too expensive…

How come regional pandering only works in one direction, right? You never see a Southern politician trying to win votes in New York State by saying, 'I read books and make a mean vegan meatloaf.'

We can see, from California to New York, from Maine to Florida, Seattle to New Mexico - everywhere there are women's groups. Everywhere there are women who have gotten together to examine global warming, and women who have gotten together to prepare each other for single parenting - there are women who have come together to be supportive to those whose mates are in prison, male or female, partners are in prison. All sorts of gatherings of women. I mean, I'm just celebrating my 80th year on this planet, and I look back 50 years ago and there was nothing like that.

Link is a quiet man to meet- easy and courteous. His music, though, betrays that deep inside he gets very very mean very often. I remember being made very uneasy the first time I heard Rumble , and yet very excited by the guitar sound. And his voice! He sounds like a cross between Jagger and Van Morrison, even sometimes like Robbie Robertson. We met him in New York in 1970 while recording Who's Next.... this later inspired the b-side Wasp Man, a tune we dedicated to Link Wray.

"The New York Times" is reporting correctly that women had accused a presidential candidate of sexual assault. Now that's news on any level. I mean you can't argue that that's not news.

I go and I keep friends with [Abe] Rosenthal at the New York Times and people of that sort, you know. And all - I mean, not all the Jews, but a lot of the Jews are great friends of mine, they swarm around me and are friendly to me because they know that I'm friendly with Israel. But they don't know how I really feel about what they are doing to this country. And I have no power, no way to handle them, but I would stand up if under proper circumstances.

I'm talking about noise rock. I don't think that noise rock element belongs in jazz. It's not for me anyway; it just doesn't fit.

I like [George] Benson because I just like it. I like that kind of style. I don't like the broken up kind of style. I don't like where you play for 16 bars and then break it up into what somebody's version of what birds twittering sounds like, or what the sound of the city is, or what New York sounds like.

There's always music that moves me. It doesn't necessarily mean that it's within the parenthesis of rock or blues, or whatever. It's usually far more reaching than that. It can be in many different genres.

Ships are but boards, sailors but men; there be land-rats and water-rats, water-thieves and land-thieves, I mean pirates, and thenthere is the peril of waters, winds, and rocks.