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Bud Powell

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I knew Bud from Birdland tour days and had the privilege of playing with him at the Blue Note in Paris in 1960. Although Charlie Parker was the man, Bud was the role model for a clearer understanding of chromaticism and harmonic possibilities in bebop as well as the impetus of forward motion - and incessant drive and exquisite lyricism. This book is a lover of this important artist. The book is great. I loved it. Bravo! Bravo!
--
Phil Woods

 
Bud Powell

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I think my business is about people making you feel self-conscious. All eyeballs are on you when you're a model, when you're on the runway or in front of the camera, you're always looked up and down and back up, so that comes with the territory. But at the end of the day I feel like my parents gave me a good solid foundation. I know who I am and there are things I wouldn't do. I wouldn't starve myself, I also never wanted to chop my hair off when people said I should do this and I should do that. And I always knew who I was and said they're going to book me like this or not book me. I don't want to be a role model because I'm just a person too, so I can have mistakes and some people don't like what I do. People always push this role model thing on you. I just want to be a good role model for my children.

 
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In the early fifties I worked with Bud Powell at Birdland in New York City. We did not communicate verbally very much, but we listened intently to each other... Bud knew how to reach the inspirational part of his mind; and when he was at his peak, his performances were absolute perfection in every respect. If this book helps to explain Bud Powell and his influence on generations of pianists who followed him, it will have done a great service toward the understanding of jazz and the illumination of an enigma, Bud Powell, a legendary figure in jazz history.

 
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You will want a book which contains not man's thoughts, but God's — not a book that may amuse you, but a book that can save you — not even a book that can instruct you, but a book on which you can venture an eternity — not only a book which can give relief to your spirit, but redemption to your soul — a book which contains salvation, and conveys it to you, one which shall at once be the Saviour's book and the sinner's.

 
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You see this book is finished and it is a bad book and I must get rid of it. It can't be printed. It is bad because it isn't honest. Oh! the incidents all happened but —  I'm not telling as much of the truth about them as I know. In satire you have to restrict the picture and I just can't do satire. I've written three books now that were dishonest because they were less than the best that I could do. One you never saw because I burned it the day I finished it. … My whole work drive has been aimed at making people understand each other and then I deliberately write this book, the aim of which is to cause hatred through partial understanding. My father would have called it a smart-alec book. It was full of tricks to make people ridiculous. If I can't do better I have slipped badly. And that I won't admit — yet.

 
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