Blues is like the roux in a gumbo. People ask me if jazz always has the blues in it. I say, if it sounds good it does.
Interpretation
Blues influences jazz, adding depth and emotion to its sound.
Wynton Marsalis highlights the integral role of blues in jazz music, suggesting that the emotional and expressive qualities of blues enhance the overall sound of jazz. He implies that the quality of music is more important than strict adherence to genre, as good music transcends traditional boundaries.
In practice
During a speech about musical influences, one could quote Wynton Marsalis to emphasize the emotional aspects of music.
Swing is extreme coordination. It's a maintaining balance, equilibrium. It's about executing very difficult rhythms with a panache and a feeling in the context of very strict time. So, everything about the swing is about some guideline and some grid and the elegant way that you negotiate your way through that grid.
Many of our greatest musicians abandoned all of their aesthetic objectives to try to become pertinent. And, at the end of the day, they never became pop stars. I counter stated that very strongly, and I continue to do that.
Jazz music is the power of now. There is no script. It's conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires.
The blues. It runs through all American music. Somebody bending the note. The other is the two-beat groove. It's in New Orleans music, it's in jazz, it's in country music, it's in gospel.
In Jazz, improvisation isn't a matter of just making any ol' thing up. Jazz, like any language, has its own grammer and vocabulary. There's no right or wrong, just some choices that are better than others.
My daddy thought - no, he expected - that my brothers and I and our generation would make the world a better place. He was correct in his belief because he had lived in an America of continual social progress, depression followed by prosperity, segregation by integration, and so on.
There is no such thing as happy music.
I cannot give a single concert at which I do not play one piece after the other in an agony of terror because my memory threatens to fail me. This fear torments me for days beforehand.
Records were vitally important to the development of music and of all music cultures. With that being pushed by the wayside, I can't see an iPod uniting us. In fact it separates us, the streets are full of people bumping into lamp posts, listening to their own little universe, and there's no sharing in that.
I think the most important thing for a listener is to realize that he, too, should not listen to music in a passive way; that if you sit in a concert hall and expect to be moved or taken off your seat by the music, it will not happen.
I heard Little Richard and Jerry Lee Lewis, and that was it. I didn't ever want to be anything else. I just started banging away and semi-studied classical music at the Royal Academy of Music but sort of half-heartedly.
That one record changed everything for me. After Sgt. Pepper, it's the most influential record in the history of rock and roll. It affected Pink Floyd deeply, deeply, deeply. Philosophically, other albums may have been more important, like Lennon's first solo album. But sonically, the way the record's constructed, I think Music from Big Pink is fundamental to everything that happened after it.
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