“Each jazz musician is supposed to be a composer. Whether he is or not, I don't know. I don't listen to that many people. If I did, I probably wouldn't play half as much to satisfy myself. As a youth I read a book by Debussy and he said that as soon as he finished a composition he had to forget it because it got in the way of his doing anything else new and different. And I believed him. I used to work with Tatum, and Tatum knew every tune written, including the classics, and I think it got in the way of his composition, because he wasn't a Bud Powell. He wasn't as melodically inventive as Bud. He was technically flashy and he knew so much music and so much theory that he couldn't come up with anything wrong; it was just exercising his theory.”

— Charles Mingus

What Is A Jazz Composer? (1971)

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "Each jazz musician is supposed to be a composer. Whether he is or not, I don't know. I don't listen to that many people…" by Charles Mingus?

Charles Mingus 18

American jazz double bassist, composer and bandleader 1922–1979

Related quotes

“I don't guess anybody would think much of what Joe did nowadays, including myself. But he was supposed to be a leader, so he had to live by the rules. It was the hardest thing I ever had to do, and it was to the greatest athlete I ever coached.”

Bear Bryant (1913–1983) American college football coach

Speaking about Joe Namath, the star quarterback, being benched for an infraction before the 1963 final regular-season game against Miami and the Sugar Bowl.
Source: Football's Supercoach, B.J., Phillips, Sep. 29, 1980, Time, 6, 2008-12-11 http://www.time.com/time/magazine/article/0,9171,952802-6,00.html,

“I don't think I shall ever forget my first sight of Hercule Poirot. Of course, I got used to him later on, but to begin with it was a shock, and I think everyone else must have felt the same! I don't know what I'd imagined — something like Sherlock Holmes — […] Of course, I knew he was a foreigner, but I hadn't expected him to be quite as foreign as he was, if you know what I mean. When you saw him you just wanted to laugh! He was like something on the stage or at the pictures. […] He looked like a hairdresser in a comic play!”

Agatha Christie book Murder in Mesopotamia

Amy Leatheran
Murder in Mesopotamia (1936)

“(William Berger) was a guy who had everything. He was handsome, knew how to act. He could have gone all the way to the top. But he got mixed up with drugs. I got a couple of parts because he was busy or he was arrested. When I made that Crea film, Berger had just been arrested because somebody had left drugs in his place, on the Costa Amalfi. His wife died in prison. I didn't get along with him because he was too hippy or what they call it, and I'm square! I don't drink, I don't smoke, and that's the way it is…But I knew so many psychedelic sophisticates in the early 1950s in Paris, that I just have my problems with them.”

Donald O'Brien (actor) (1930–2003) Italian film and TV actor

Euro Trash Cinema magazine interview (March 1996)

“I asked him what, if anything, got him down about teaching. He said he didn't think that anything about it got him exactly down, but there was one thing, he thought, that frightened him: reading the pencilled notations in the margins of books in the college library.”

Jerome David Salinger book Raise High the Roof Beam, Carpenters and Seymour: An Introduction

Raise High the Roof Beam, Carpenters and Seymour: An Introduction (1963), Seymour: An Introduction (1959)

“Well, [Lorca had] a gift for gab. For example, he makes striking metaphors, but I think he makes striking metaphors for him, because I think that his world was mostly verbal. I think that he was fond of playing words against each other, the contrast of words, but I wonder if he knew what he was doing.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

Richard Burgin, Conversations with Jorge Luis Borges, Holt, Rhinehart, & Winston, 1968. Pages 93-94.
Conversations with Jorge Luis Borges (1968)

“He was my mentor in a way -- as a musician and as a businessman. He came to Turkey once and saw me on stage performing, and then he came up to me and said, "You've got to call me." I said, I would love to. And that was the first thing I did when I came to New York. Then we did an agreement, a deal, with him for the English albums.”

Tarkan (1972) Turkish singer

About Ahmet Ertegün

“I contributed; Ulam did not. I'm sorry I had to answer it in this abrupt way. Ulam was rightly dissatisfied with an old approach. He came to me with a part of an idea which I already had worked out and difficulty getting people to listen to. He was willing to sign a paper. When it then came to defending that paper and really putting work into it, he refused. He said, "I don't believe in it."”

Edward Teller (1908–2003) Hungarian-American nuclear physicist

On the creation of the hydrogen bomb, in "Infamy and honor at the Atomic Café : Edward Teller has no regrets about his contentious career" by Gary Stix in Scientific American (October 1999), p. 42-43.

“So, I come home, I was so tired, and I look at my phone to check my messages, and I had a voicemail message from a guy by the name of Channing Tatum. [Female audience members cheer and woop] Now, for those of you not "woo"-ing, let me explain who that is. Channing Tatum is the new Hollywood hot guy, he's doing all these movies, coming out really good-looking, ripped, you know. He's making a lot of films, and there's a voicemail on there from him. "Gabriel Iglesias, this is Channing Tatum, call me at your earliest convenience…" blah-blah-blah. So, I was like, "Well, okay." So, I call him. [Mimics dialing on phone and ringing] "Hello?" "Hi, this is Gabriel Iglesias calling for Mr. Channing Tatum?" He yells, "FLUFFY!" [Mimes pulling his phone away in surprise] "…Hello?" "Oh, dude, man, I'm a huge fan. Hey, listen, real quick, I only have, like, a minute. Look, bro, I'm doing a new movie, and I was wondering if you'd be interested in reading and auditioning for one of the parts." I said, "Sure, bro, I'd be happy to audition for…for your movie. What's it called?" He goes, "The movie's called Magic Mike." [Female audience members woop loudly] I was like, "Oh, cool, Magic Mike. So, you need a magician, you need an assistant, you gonna saw me in half, what's gonna happen?" "Actually, bro. The movie has nothing to do with magic. It's actually a movie about male strippers." I said, "Male strippers?" He goes, "Yeah, male strippers."”

Gabriel Iglesias (1976) American actor

I said, "You do know that this is Gabriel Iglesias, right?"
Aloha, Fluffy (2013)

“Of course that's Bud and Laurindo. I liked Laurindo very much, and I love some of the tunes he does. In fact, I've been doing some piano transcriptions of some guitar things of his, and we recently recorded a tune of his. This particular thing again—how are you going to equate it? As jazz? As Brazilioan music or what? I wiould much rather hear Laurindo in his native habitat. I know he and Bud have been associated this way before, yet I don't feel that a real good rapport goes on between them. The constant mixing—half-jazz, half-Brazillian—I don't think it's good. You lose certain features of the one when you try to come out with the other. Let's give that three stars.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Reviewing "Tocata" https://www.youtube.com/watch?v=a940h3-1NV0 from Brazilliance; as quoted in "Clare Fischer: Blindfold Test" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#rjvay58eo774rhe

“He was an extraordinary bloke. First of all he was very funny. He was straight but very camp. [He] came in and Visconte said, ‘Right, what are we doing?’. He said: ‘Well I haven’t got any material, I’ve just got one guitar riff’. So he played us this guitar riff. It sounded a bit like Chuck Berry to me but I didn’t say anything. He went out with the band and after two hours he said, ‘Right, got a song’. So we recorded it and took a few takes. He then said, ‘Right I’ve got a bit of a tune, just give me half an hour’. In 10 minutes he came back and said, ‘Right I’ve got the lyrics and got the tune’. So he’d written Get It On in 10 minutes basically. He went out there, sang it and in four or five takes we’d got it. There it was. The guy was absolutely astonishing.”

Martin Rushent (1948–2011) English record producer

[Serck, Linda, Legendary producer Martin Rushent, 2009, http://www.getreading.co.uk/entertainment/music/s/2061462_legendary_producer_martin_rushent, Get Reading, 6 June 2011]

Help us to complete the source, original and additional information

Charles Mingus 18

Related quotes

Related topics