Smokin' at the Half Note is the absolute greatest jazz-guitar album ever made. It is also the record that taught me how to play.
Pat MethenyRead
I can't really say enough about Chris Potter. He is one of the greatest musicians I have ever known, and every second I have been on the band stand with him has been an absolute pleasure.
Interpretation
The quote expresses deep admiration for musician Chris Potter, highlighting the joy of collaborating with him.
In this quote, Pat Metheny pays tribute to Chris Potter, emphasizing his exceptional musicianship and the pleasure of their musical partnership. It reflects the profound impact that talented individuals can have on one another, particularly in collaborative environments like music, where shared experiences can deepen appreciation and joy.
In practice
During an award ceremony, one might say, 'As Pat Metheny remarked about Chris Potter, he truly is a remarkable musician.'
Smokin' at the Half Note is the absolute greatest jazz-guitar album ever made. It is also the record that taught me how to play.
The beauty of jazz is that it's malleable. People are addressing it to suit their own personalities.
...to me if it's anything, jazz is a verb-it's more like a process than it is a thing.
I think jazz is actually quite unforgiving in its disdain for nostalgia. It demands creativity and change at its highest level.
The guitar for me is a translation device. It's not a goal. And in some ways, jazz isn't a destination for me. For me, jazz is a vehicle that takes you to the true destination - a musical one that describes all kinds of stuff about the human condition and the way music works.
There are musicians who go through their lives sort of shedding their skins. For me, I've always felt backward-compatible to Version 1.0.
One thing I can say about our band is this. If you got something good to lay on us, enlighten us, but if you got something bad to lay on us, you can get your teeth knocked clean down your throat man. Dangerous people. Lovely people.
This has not changed: always like the first time, very, very nervous. But when the music begins, you are in the music, it's a sort of transformation. Your feeling for the music is greater and has nothing to do with your nerves. You go out of yourself.
Few rappers realize the genre sprang from West African griots through Delta slave songs to jazz poetry and the comedic trash talk of 'the dozens.'
If you come from Africa with your economic poverty and your cultural riches, and you meet someone like Peter Gabriel or a person from a big record company, and they tell you that what you are doing is marvelous, that makes you feel powerful.
I think the problem with people, as they start to mature, they say, 'Rap is a young man's game,' and they keep trying to make young songs. But you don't know the slang - it changes every day, and you're just visiting. So you're trying to be something you're not, and the audience doesn't buy into that.
I grew up with the Grand Ole Opry, Dottie West, Conway Twitty, Buck Owens... not realizing it was influencing me as much as it was.
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