Paul Horn Quotes

I grew up watching American films, listening to American music, and it's a big contribution to the rest of the world. I mean, American jazz, for me, is the best thing culturally that America has produced.

If you don't already know about jazz music, how would you be exposed? How would get an opportunity to find out if it spoke to you? If you get exposed to it enough, you might find a taste for it.

As long as there are people trying to play music in a sincere way, there will be some jazz.

I always say that the problem with jazz accessibility is not the content of the music, it's people's ability to access it.

I believe deeply that jazz is still a very vital music that has much to say, not just to eggheads, or whatever the musical equivalent of an egghead is, but to ordinary people.

I got my love of jazz from my stepfather, who was a jazz musician.

When I was in college, I had a jazz radio show. I called it 'Excursion on a Wobbly Rail,' after a Cecil Taylor song. I used to run around the Village following Ornette Coleman wherever he played.

In fact, I heard Bird first, and had got well into listening to him. You know, it's the kind of accidental thing that awareness of a player is: what's available, what somebody happens to play for you.

Jazz fans love Miles and I love him for a myriad of reasons, but the overviews are always too simplistic.

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

My dad is a big jazz fan, and that was the reason I first got into jazz.

At a certain point, I became a kind of musician that has tunnel vision about jazz. I only listened to jazz and classical music.

I was really a nerd, and I was really more of a jazz nerd. So when I had my chance to put on something, most of the time it was going to be jazz, or gospel, or something like that.

I got a chance to listen to and watch Thelonious Monk and his quartet play two shows a night, for six weeks. It was a great education. There was my university, man.

The month of September is Women in Jazz, so I'm doing jazz there in September. I'm in for the duration.

I think 'Horace Silver' was actually the first live jazz group I ever heard back when I was a kid in St. Louis. So along with most players of my generation, I have a real affection for the music of 'Horace Silver.'

Certainly, jazz has become more of a niche, which is surprising, because it's our music. It's the national music of America.

I don't want to sound as if I'm doing something tremendously special. But I am a jazz fan.

Jazz is a way of life, and you have to learn about it on the street, so to speak. But the training comes in by giving you the tools to work with.

I've been around jazz and jazz musicians most of my life.

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

Jazz is a constant theme in my life. My father is a jazz pianist, and from an early age I have been surrounded by it.

I love New Orleans. I love jazz. I grew up practicing jazz piano, and that's just been such a cool genre to me. There's a lot of talent there.

I listened to classical music. I listened to jazz. I listened to everything. And I started becoming interested in the sounds of jazz. And I went to a concert of Jazz at the Philharmonic when we lived in Omaha, Nebraska, and I saw Charlie Parker play and Billie Holiday sing and Lester Young play, and that did it. I said, 'That's what I want to do.'

Isaac Smith sounded like Curtis Fuller, Corey Hogan sounded like Sonny Rollins, Terrace Martin sounded like Jackie McLean. Already, at 13, 14, 15 years old.