I've had experiences where people say, 'I hated jazz before I heard you guys!' I'm like, 'You didn't hate jazz before you heard us; you hated the idea of jazz.'
Kamasi WashingtonRead
My third day playing saxophone, I was in front of a congregation. I still didn't know the names of all the notes. I was playing by ear, following along, but it was such an encouraging environment, I couldn't fail. It was all, 'Yeah baby, you sound real good' no matter what you play. It was a great way to learn.
Interpretation
Learning music can thrive in supportive environments where encouragement outweighs perfection.
This quote by Kamasi Washington highlights the importance of a nurturing and encouraging environment in the learning process, particularly in music. He emphasizes that even as a novice, the positive reinforcement from an accepting congregation allowed him to embrace the experience of playing, fostering growth and confidence despite his lack of technical knowledge about the notes.
In practice
This quote could be used in a speech about the importance of supportive learning environments in schools.
I've had experiences where people say, 'I hated jazz before I heard you guys!' I'm like, 'You didn't hate jazz before you heard us; you hated the idea of jazz.'
We've now got a whole generation of jazz musicians who have been brought up with hip-hop. We've grown up alongside rappers and DJs; we've heard this music all our life. We are as fluent in J Dilla and Dr Dre as we are in Mingus and Coltrane.
I kept thinking about how ironic it is how people who live in places where there is diversity tend to love it - and the people that don't live in particularly diverse places tend to be the ones attacking it. In a way, that's similar to music, which is essentially the art of bringing things together.
My hope is that witnessing the beautiful harmony created by merging different musical melodies will help people realize the beauty in our own differences.
In general, in my life, one of the coolest things that I've been able to do is to go to different places and meet different people and see how they view the world and to learn what their music is and what their language is, and the food they eat and everything. That idea of the beauty of the vastness of the world has just been my life.
I'll always remember when I first heard Lester [Young]. I'd never heard anyone like him before. He was a stylist with a different sound. A sound I'd never heard before or since. To be honest with you, I didn't much like it at first.
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.
It is Billie Holiday who was, and still remains, the greatest single musical influence on me.
When I go to the Gate, I'll play a duet with Gabriel. Yeah, we'll play 'Sleepy Time Down South' and 'Hello, Dolly!.' Then he can blow a couple that he's been playing up there all the time.
If you have to ask what jazz is, you'll never know.
A young tenor player was complaining to me that Coleman Hawkins made him nervous. Man, I told him Hawkins was supposed to make him nervous! Hawkins has been making other sax players nervous for forty years!
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