“How did I get to Lee Konitz, when everybody else was doing Charlie Parker? The sound, for one thing, the notes that he played—man, it just knocked me off my feet! When Lee was first playing, God he was inventive! I worked out so many solos of his off the records, from when he began recording with Tristano and Warne Marsh in 1949. I listened to Charlie Parker but I was not a fan—he was repeating himself too much.”

— Clare Fischer

As quoted in Lee Konitz: Conversations on the Improviser's Art https://books.google.com/books?id=pc4CsgVHLw0C&pg=PA65 (2008) by Andy Hamilton and Lee Konitz, p. 65

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Clare Fischer 48

American keyboardist, composer, arranger, and bandleader 1928–2012

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

As quoted in Konitz: Conversations on the Improviser's Art https://books.google.com/books?id=pc4CsgVHLw0C&pg=PA65&dq=%22Tristano+was+too+contrived+for+me%22&hl=en&sa=X&ved=0CBQQ6AEwAGoVChMIrKPnnf_OxwIVBDU-Ch0dxg5F#v=onepage&q=%22Tristano%20was%20too%20contrived%20for%20me%22&f=falseLee

“I know what the power of silence is. When I used to play in clubs, everybody was loud; there was a lot of noise. So I would take my mute off the microphone, and I would play something so soft that you could hardly hear it… and you talk about listening. Roy Eldridge did that. He's one of my favorites.”

Miles Davis (1926–1991) American jazz musician

As quoted in Jazz-Rock Fusion: The People, The Music, p. 40
1970s

“The people I was listening to never sold a lot of records. John Lee Hooker was never on the charts, so I was never in it from a commercial point of view. Other people expected things from my records, but I never did.”

Van Morrison (1945) Northern Irish singer-songwriter and musician

An Oral History of Popular Music (1989)

“Bill and I were pretty much the same age bracket, and strangely enough, we both went through the same influences, starting with Nat Cole, going into Bud Powell during the bebop period, and then getting into the Lennie Tristano school orienta—in my particular case, Lee Konitz more than Lennie. I mean, in an era when everybody else was playing funky piano, we… I suppose, in a general category, that made us both the same. Whereby [sic] to my mind, we were both radically different. But after I put out that first album, the reviews started off by saying, "Clare Fischer owes much to Bill Evans." And then, when I would write an album, they would say "Clare Fischer owes much to Gil Evans."”

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

And I would call that my Evans brothers syndrome.
Radio interview https://itunes.apple.com/us/album/talking-jazz-volume-22-arrangers/id398326105, circa 1985, by Ben Sidran, as quoted in Talking Jazz With Ben Sidran, Volume 1: The Rhythm Section https://books.google.com/books?id=O3hZDQAAQBAJ&pg=PT452&dq=%22But+Bill+and+I+were+pretty+much%22&hl=en&sa=X&ved=0ahUKEwjWm_Tw9MXRAhWF8CYKHdeKBs8Q6AEIFDAA#v=onepage&q&f=false (1992, 2006, 2014)

“"I just remember he was dominating, a scoring machine, unstoppable," Walt Frazier, the Knicks' Hall of Famer, said. "The guy looked indestructible. He was such a physical specimen, I never thought something like this would happen to him at 63. "His legacy is comical. When you read about his records, it makes you laugh. He has records that are just remarkable. I don't care if he was 10 feet tall, the things that he did.”

Wilt Chamberlain (1936–1999) basketball player

[Wise, Mike, Giants of Game Mourning Loss of Biggest Giant of All, The New York Times, 1999-10-13]
Scoring

“When I came back [from a temporary stay in Paris] and heard you play with Charles Mingus, and when you and Cecil Taylor [also a free Jazz musician] opened up the 'Five Spot' in the Fall of 1956, I felt better about being in New York. All the musicians who create from the gut as well as their intellect can change things. People will never understand what we are doing if they can't feel... All art is abstract. All music is abstract. But it's all real... When you improvise, I can see the seeds of a symphony you could write. When I first heard Charlie Parker in Chicago, I could see he was a symphony.... we were all trying to bring that spirit, that spontaneous energy, into our work.”

Joan Mitchell (1925–1992) American painter

talking to jazz-player David Anram in the jazz club the 'Five Spot', in 1956, she was visiting with Franz Kline
Quoted by David Anram in 'Introduction', in The Stamp of Impulse, Abstract expressionist prints, ed. David Acton, David Amram, David Lehman, Worcester Art Museum, 2001 p. 21
1950 - 1975