Johnny Winter Quotes

I sat in at every club in New York City, jamming with musicians, because it felt right - and because it felt right and we were having fun - the people dancing and sipping their drinks in the clubs felt it too and it made them smile.

Phish is such a good band; they just make stuff up as a jam band.

The only band I was really over-into was Cream. And the only thing I really liked about them was their live stuff 'cause they played two verses, then go off and jam for 20 minutes, come back and do a chorus and end. And I love the live jam stuff, the improvisation.

I've had the honor of sitting in with the Allmans at their Beacon shows a couple of times, and it just doesn't get better than that.

You know, Nirvana used to start rehearsals with the three of us just jamming. For, like, a half an hour, just noise and freeform crap - and usually it was crap. But sometimes things would come from it, and some songs on Nevermind came from that, and 'Heart Shaped Box' and stuff on 'In Utero' just happened that way.

In the early days of jazz, it was ensemble music: everybody playing all together. Nobody really stood out.

My family is full of musicians, and a couple of times a year we get together and jam at my cousin's studio. We improvise and have a great time.

The way that we imitate each others' riffs is something that other bands don't do as much. If we're jamming with a jazz band, or I am jamming with a jazz band, I have to catch myself, the tendency is always to do that.

Man I mean, the great thing about playing clubs in Harlem is people have an appreciation not just for the music but for the history of the music.

The world that I come from is the world of raves, hip-hop clubs, and rock and roll.

You should play with real musicians; the best music comes from real people interacting with each other.

I have a little history. I met Stone Temple Pilots, and their guitar player was a huge Extreme fan. Somewhere down the road, Extreme made its statement.

In 2008, I was in a London park when I came across a fledgling crow that had fallen from the top of an oak tree. A woman happened to be passing, and she said that she rescued animals, so she invited me back to her house. It turned out she was the wife of Jeff Beck. Jeff was there, and we ended up jamming together.

I grew up with all these old jazz guys in the '70s in L.A., and they grew up idolizing Charlie Parker, Charles Mingus, Lester Young - all of these incredible musicians.

I used to hang out a lot in jazz clubs, and the groups took to a kid like me who wasn't afraid to get up and sing with a jazz band. Then I started to hang out in rock clubs and learned to carry off different styles.

I like to go hear jazz late-night up in Harlem.

I lived in an area where there were a lot of rock musicians, and we got together regularly in our studios.

All I really wanted to do was make an album that was going to be just back to what I like to do... And it was a coincidence that these new bands, this new wave of bands, were doing Alice and Iggy rock.

No, I'm sure that there's a lot of L.A. bands out there.

A lot of the way I sing is playing off other musicians. It's what I love to do the most.

When we were making Speaking in Tongues and Remain in Light, we were jamming. From that we were taking the best bits and then recording and improvising on top of those.

I have this guitar on which I occasionally kill time making up rock n' roll lyrics.

'Even Flow' is the best to play live because of the long solos. It starts out slow and builds, and, depending on what the audience does, I can reflect that in the solo.

Find someone you can jam with. That's a big deal. When you play with someone else, you gotta work together to get the thing started and in time, working and in the groove.

We grew up with musicians coming over jamming. We had tons of instruments. So holidays were always like, 50 people would come over, and there would be a jam session with everyone playing jazz.