Branford Marsalis Quotations

The whole point is, give me a break with the standards. You go to the average jazz label and suggest a record and they want to know which standards you're going to play. I'm saying let's break the formula.

If I were like a lot of other people, then it wouldn't be fun; but since I'm like me, it's okay.

I think that if you keep banging at the door all you need is a little foothold, a little tiny foothold, and then the rest will take care of itself.

Pop doesn't really look back. It can't. What makes pop work is simplicity.

What is jazz? It, It's almost like asking, What is French? Jazz is a musical language. It's a musical dialect that actually embodies the spirit of America.

Humans are imperfect. That's one of the reasons that classical and jazz are in trouble. We're on the quest for the perfect performance and every note has to be right. Man, every note is not right in life.

If you listen to a lot of the songs that are popular now, there's very little melody in there. People love the beat. But to musicians, it's melody, because we understand how elusive it is and how hard it is to hold.

The piano is the X factor. People have a tough time following the structures when there's no piano there, spelling it out. It makes it more easily understood, particularly to people who don't know as much about music.

If it's not going to sound like Terrapin Station, what's the point of playing Terrapin Station?

That's kind of like how jazz is sometimes. You're out there predicting the future, and no one believes you.

Coltrane came to New Orleans one day and he was talking about the jazz scene. And Coltrane mentions that the problem with jazz was that there were too few groups.

If you're going to use standards as criteria for signing musicians, you can sign thousands. If you're going to use some sort of conceptual interpretation that's based on the tradition of those standards, but is trying to move away from it, you're down to about 10 people or so.

One of the things that I loved about listening to Miles Davis is that Miles always had an instinct for which musicians were great for what situations. He could always pick a band, and that was the thing that separated him from everybody else.

The biggest problem with American music right now, is that kids don't listen. They come by it honestly, Americans don't listen anyway. When people go to concerts, they say I'm going to see... not, I'm going to hear.

The lion's share of what I hear right now are people who, intentional or accidental, have avoided all jazz prior to 1960. And all the musicians who were successful in the '60s spent their entire lives, prior to 1960, listening to all the musicians these people avoid.

There's not one Tin Pan Alley song on my record.

It's hard to get into Newsweek because, as more of our former intellectual magazines take on a pop focus, if there's no buzz, there's no interest.

A lot of musicians have a tough time hearing what we're doing in a trio format.

I gave up my base in popular culture when I left the Tonight Show.

I like to make records sound good. I'm more like a reducer than a producer. If an artist cannot produce themselves, what's the point?

I think that one of the problems that jazz has is that it's so incestuous that it's starting to kill itself.

I'm not going to play funk licks on a jazz album. That makes no sense.

It's something that jazz has gotten away from, and it's unfortunate. Players aren't physical anymore.

Jazz fans love Miles and I love him for a myriad of reasons, but the overviews are always too simplistic.

When you're dealing with music without words, titles are more a means of identification than anything else. What's the point of getting lofty?

You hear it in your brain. Whatever makes sense. Some songs work well as quartet songs, sometimes they don't.

One of the things that's clear to me from interviews that I've read is that the more popular successful jazz musicians had audiences above and beyond the music community.

I suspect that we might actually start selling some records with these artists in about 10 years. Some the people who invested, they're a little tight-because it's a lot of money to start up a company.

My dad was a musician, it was just what he did, like another guy's dad drives a meat truck. Our house was normal. We weren't taken with the fact our dad was a musician.

There's a certain kind of motion and pacing that our music has, and this just doesn't have that. We just kind of rushed to the conclusion of most of the songs. I just would've preferred to done them over.

We played it as long as we could play it on that CD and I think it might be 50 minutes, maybe. What you have to do is play a couple of songs and then get off the stage because everything that trails it sounds stupid.

Jazz is so incestuous that it's starting to kill itself.

Everybody talks about finding your voice. Do your homework and your voice will find you.

We all played bad before we played good.

If youre going to use standards as criteria for signing musicians, you can sign thousands. If youre going to use some sort of conceptual interpretation thats based on the tradition of those standards, but is trying to move away from it, youre down to about 10 people or so.

So much of Jazz doesn't have an audience other than music students or musicians.

My job is to write songs that have emotional meaning to me.

There is not a sentence in the world that could respectfully do justice to the life and music of Jerry Garcia.

You know, being America, being the land of "number ones", everyone wants to be a leader before they follow.

The way to learn the language is to rip off other players. As Benny Golson told me, "We all start off sounding like other cats. And gradually, a lick here or there,we start to sound like ourselves. But it takes a long time to do so..." That'swhat he told me, and it worked for me.

Walter Beasley is an anomaly: a successful performing musician who possesses the rare skill of understanding the musical process beyond the intuitive. This special ability enables Walter to communicate with aspiring musicians in a way that removes the sense of mystery that sometimes enshrouds our profession.

We have something that is unique. We have our craft. We have our art. We have our desire.

You don't know what you like, you like what you know. In order to know what you like, you have to know everything.

Now that we've actually stepped it up to the point where we're playing really sophisticated music, it's very difficult for people to follow.

We have more faith in the music than the people at major labels have. I'm always thinking of ways to enhance the music and the way we think about it.