Diana Krall Quotes

I wanted to be a jazz musician.

There have been many great musicians that, Clifford Brown is one great example, I mean he died very early, 25.

So I was always around music and my dad was in his own way a progressive jazzer, a big band jazzer guy.

When Hank Jones had his night off, I would get somebody to take my place as intermission pianist and I'd play the show with Ella, so I would get a chance to play with Ray Brown and Charlie Smith as well.

So I went into jazz and performed in jazz clubs all over the country.

As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.

I've been saying for almost 20 years that I need to do a jazz project and it ought to be either big band or I should do some jazz songs with a trio or quartet.

I've been invited to do a trio with a fantastic jazz guitarist and a harmonica player.

I think Wes Montgomery is the greatest jazz guitarist that ever lived.

I sounded like myself. People be saying I sound like Miles or Clifford Brown.

I recorded my first jazz record in the '70s.

I learned my phrasing from Frank. I loved him so much.

The only element of jazz that I keep is improvisation.

My father is a jazz musician, so I grew up hearing jazz. My parents loved it, but I didn't like it. It went on for too long. Yes, I had certain teachers that really inspired me, like Danny Barker, and John Longo. And I had no idea that I would have any impact on jazz.

I heard Sidney Bechet play a Duke Ellington piece and fell in love with the soprano saxophone.

I think you have to have a jazz pedigree to be on jazz radio.

The first thing is, jazz is one of the few things to let you know that there is a God and there is a creation.

When I began listening to saxophones, I was first attracted to Coleman Hawkins.

I cut myself off from the mainstream of jazz. It stood me in good stead later on, as a musician.

If he's a true symphony artist, he knows better than that because he knows that the only truly creative musician is the jazz musician.

We don't live in a jazz world, unfortunately. I think if I had lived in a jazz world, I would have done OK. I'm not sure I would have done great. I'm a lover of jazz music, so I would have been happy, don't get me wrong. I go to jazz concerts like the biggest jazz fan in world. The drag is that I don't play jazz for a living.

Whenever Elvin Jones comes to Seattle I try to go catch him.

Bobby Troup and I have been working together for about a year in clubs. We work in the same club.

Bill Evans is a real serious jazz pianist who, in my book, crossed over boundaries in terms of color. He used the piano as his canvas.

I've always wanted to record a jazz record. I did one in the '70s with Barbara Carroll. It's been a journey.