Best 54 quotes of Dave Brubeck on MyQuotes

After the Second World War, I returned to California to study composition with Darius Milhaud, who wrote wonderful works like 'Le Boeuf sur le Toit' and 'La Cretion du Monde.' I especially enjoy his work for two pianos, 'Scaramouche.

And there is a time where you can be beyond yourself. You can be better than your technique. You can be better than most of your usual ideas. And this is a whole other category that you can get into.

Art may not have the power to change the course of history, but it can provide a perspective on historical events that needs to be heard, even if it's seldom heeded. After all the temporary influences that once directed the course of history have vanished, great art survives and continues to speak to each generation.

Concord, California was a great place to grow up.

Damn it, when I'm bombastic, I have my reasons. I want to be bombastic-take it or leave it.

Don't be a perfectionist... leave that to the classical musicians.

Do you think Duke Ellington didn't listen to Debussy? Louis Armstrong loved opera, did you know that? Name me a jazz pianist who wasn't influenced by European music!

Duke Ellington, Art Tatum, and many other great jazz musicians objected to their music being called jazz. While the outside world may want to put a label on it, those who create it think of it just as music, and tend not to classify it.

Every individual should be expressing themselves, whether a politician or a minister or a policeman.

I don't think you can separate a person's "style" and his persona. If you're writing or improvising honestly, you will inevitably reflect who you are.

If I told you all the people that have secretly told me I've influenced them, you'd never believe it, and you'll never see it in print, either.

If there's a deadline, I work late. If not, I like to have normal hours, and get up early and work. When things are going well, I hate to quit. And then I'll work 'till exhausted.

I got a poster from Columbia Records, and there's Miles Davis, Charlie Mingus, Ellington, Count Basie - everybody in that poster has died, I'm the only one left. And great players like Paul Desmond and Gerry Mulligan, it's hard to believe they're gone because we were all so close. But I believe in the future and the tradition will go on.

I had the first integrated Army band in World War II.

I have more energy at the end than I do at the beginning. You can be so beat up that you can scarcely walk on stage but when you get to the piano the excitement kicks in, you forget about being tired.

I knew even if I'm a cowboy, I'm going to be involved in jazz in some way.

I knew I wanted to write on religious themes when I was a GI in World War II. I saw and experienced so much violence that I thought I could express my outrage best with music.

I'm always hoping for the nights that are inspired where you almost have an out of body experience

I prefer no one to teach me. I prefer to swing on my own.

I played a lot of sports and it's the plays in basketball that weren't worked out that are the ones that are just fantastic that you remember. We don't know the power that's within our own bodies.

I started growing up in a hurry and taking a lot of the philosophy I'd heard from church as a kid a lot more seriously - especially the Ten Commandments - and wondering how 'Thou shalt not kill' could be so absolutely ignored. It took me until I was in my 40s to write what I was thinking as a young soldier.

I think the church should strive to give parishioners good music. Music is as necessary for worship as a building with a beautiful altar, artwork, and stained-glass windows. Together they create an environment conducive to worship and contemplation. We are not in church for entertainment, but to worship.

It's like a whole orchestra, the piano for me. And also it's to me the greatest instrument. I shouldn't say that, but I believe that this is the only instrument I can really feel happy about playing.

It's like a whole orchestra, the piano for me.

I used to take my mother to Yosemite. When I turned 14, I got my driver's license, and that's where she'd want to go, so I'd go take her there for two weeks.

I wanted to be like my father, who was a cattle man and a rodeo roper. And that was - he was my hero, and I wanted to be more like him.

I was always very aware of drummers. My oldest brother Henry was a drummer, and he drummed on everything in the house from the kitchen sink to stovepipes. He was the first drummer in the Gil Evans Orchestra, so you've got to know how great he was.

I wasn't allowed to play in some universities in the United States and out of twenty-five concerts, twenty-three were canceled unless I would substitute my black bass player for my old white bass player, which I wouldn't do.

Jazz is about freedom within discipline.

Jazz is about freedom within discipline. Usually a dictatorship like in Russia and Germany will prevent jazz from being played because it just seemed to represent freedom, democracy and the United States.

Jazz is about the only form of art existing today in which there is freedom of the individual without the loss of group contact.

Jazz isn't dead yet. It's the underpinning of everything in this country. Whether it's a Broadway show, or fusion, or right on through classical music, if it's coming out of the U.S., it's not going to survive unless it's got some jazz influence.

Jazz stands for freedom. It's supposed to be the voice of freedom: Get out there and improvise, and take chances, and don't be a perfectionist - leave that to the classical musicians.

Kinship doesn't come from skin color. It's in your soul and your mind.

Many people don't understand how disciplined you have to be to play jazz... And that is really the idea of democracy - freedom within the Constitution or discipline. You don't just get out there and do anything you want.

Most of the international acceptance of jazz education can be traced to the University of North Texas, Denton, Texas, and the wonderful program they inaugurated.

My dad was the manager at the 45,000-acre ranch, but he owned his own 1,200-acre ranch, and I owned four cattle that he gave to me when I graduated from grammar school, from the eighth grade. And those cows multiplied, and he kept track of them for years for me. And that was my herd.

My mother Elizabeth Ivey Brubeck was a pianist who studied with Dame Myra Hess and Tobias Matthey. As a child in California I used to listen to her play Chopin.

My own Brubeck Institute in California is turning out fantastic young jazz players, and I know great things will happen.

One of the reasons I believe in jazz is that the oneness of man can come through the rhythm of your heart. It’s the same anyplace in the world, that heartbeat. It’s the first thing you hear when you’re born — or before you’re born — and it’s the last thing you hear.

Over the years I've had strong friendships with many priests. As a matter of fact, a group of Christian leaders from the National Council of Churches came to my house in the 1950s to ask me to write music for a Mass. I didn't think I was ready at that time. So, in a sense, I guess joining the church and writing the Mass was a culmination of a long journey that is still going on.

Probably the most profound thing in the Bible is 'Love your enemies, do good to those who hate you.' This is what, to me, is the essence of Christianity.

So often people will say that I converted to the Catholic religion. This is false. Although I was raised as a Protestant, I was never baptized and had never been a member of any church. I joined the Roman Catholic Church after I had written my Mass To Hope!During the night I dreamt the entire Lord's Prayer with chorus and orchestra. I jumped out of bed and wrote down what I had heard as accurately as I could remember. Because of this event I decided that I might as well join the Catholic Church because someone somewhere was pulling me toward that end.

The reality for me is simple. When music is written, it is usually categorized as classical. When it is improvised, it can still be called classical if it is an inspired improvisation. In either category, it is still music, and it can be good or bad or simply mediocre.

There are a lot of people on the lowest rung of Jacob's Ladder, and we must somehow reach down, give them a hand, and make them want to climb. A little really good music never hurt anyone. And when people are given good music they can grow spiritually and even discover they like it.

There's a way of playing safe, there's a way of using tricks and there's the way I like to play which is dangerously where you're going to take a chance on making mistakes in order to create something you haven't created before.

The secret of a great melody is a secret.

The source of inspiration can be any of the things:deep emotional experiences - say, romantic love or spiritual contemplation.I think such rare moments come only when you have total concentration. You are consumed in and by the music. I guess you could say that it is akin to contemplation. In order to reach this desirable state of mind you have to rise above the environment you're in at that particular time - a bad piano, glaring stage lights, or the attitude of the audience. Sometimes the inspiration of the other musicians you're playing with helps you reach this stage.

The use of rock, folk, or pop music serves a purpose. It gets people into the church. But an inexperienced guitar player who doesn't have much to say, for example, can make me wish to leave the church immediately, whereas one great jazz or classical guitarist can confirm that I will have a spiritual experience in the church.

The worst thing about the life of a jazz musician on the road is getting to the gig. Once you're there and playing, it's marvelous.