Best 35 quotes of Mose Allison on MyQuotes

All the classic jazz players all sang and a lot of 'em sang blues.

As far as I'm concerned, the essentials of jazz are: melodic improvisation, melodic invention, swing, and instrumental personality.

A young man ain't nothin' in the world these days

Everybody cryin' mercy / When they don't know the meaning of the word.

I don't care what anyone does, as long as they go through the copyright office.

I don't remember any impression [from blues].The blues was just everywhere in the Mississippi Delta. It was mostly black sharecroppers living there, and there was a lot of blues around. Sometimes the guys would sing the blues in the fields, working.

I don't sit down to write a song; they just come to me from something that somebody says, or something in the news. The punchline comes to me, and I go over it in my head and get the song form. I hadn't been doing that a lot.

I do some concerts. At the moment, I'm being helped a lot by a gig I play in London, which is Pizza Express.

I do very few standards. Hardly any. Other people's tunes that I do are usually obscure tunes, for the most part, although I do a couple of Duke Ellington tunes that are well known.

I finally decided if I was going to make a living, I was gonna have to come to New York.

If it's worth remembering, I'll remember it. If something keeps coming back, if I keep thinking of that phrase, if I see manifestations of it at different times and different places, then I feel it's worth making a song out of.

I have lots of CDs that came out at one time or another, and according to the statements I've gotten, no one's buying them.I figured there's no need making a new CD. There are plenty of mine out there, and none of them are selling.

I have no idea what I'm doin'. I've never seen me.

I haven't stopped and I don't plan on stoppin' any time soon.

I just try to do as good job with the material as I can and play some jazz as well, some improvised music, and do that every night. Just see where it goes.

I'm always storing away phrases and ideas and things that I think might turn into songs.

I'm happy whenever anybody does my material. I don't care what they do with it. I do what I want to with other people's songs.

I'm not inspired by songwriting at all; that took place years ago. I'm pretty well established, as far as my influences go. I don't listen to music anymore. It all sounds the same to me.

I never bothered about keeping track.Every now and then someone records one of my songs, and I get credit for it.

I never thought I was playing black music. I was just playing music, the stuff I liked. I sang blues at parties and things when I was a kid.

I remember the first check I got from The Who's recording [of "Young Man Blues"]. I'd been getting checks for $10 and $15 and so forth, and this one was for a much larger amount than that. I thought it was a mistake.

I started going to a piano teacher at 5 years old, but pretty soon I started picking things out on my own and stopped taking music lessons. I never could read music very well, but I've still been doing it.

I start out with words, with the idea, the line. Then after I get a line or two, I try to find what melodic line those lines would be suited to. As soon as I find the form I can finish the song in my head.

I told [my daughter Amy] at an early age that she had a good ear. But I didn't influence her music much. She's pretty much developed her style on her own, and she's a talented songwriter.

It was the British rockers that saved me. They brought me to a different generation altogether [in the 60th]. The Who and The Yardbirds and Georgie Fame and Van Morrison and all those people. The only person who ever did my songs in [ U.S] country was Bonnie Raitt.

I've been able to do pretty well. I don't work as many consecutive nights as I used to, but I'm still working over 100 nights a year, so that's good for me.

I've heard some tunes in recent years that were pretty close to that same idea. The idea was you turn on the radio and you want to hear some music and up comes a commercial.

I was taking chemical engineering. But I went into the army after that. When I came out of the army, I was a different person. I met a lot of good jazz players in the army.

I went through the whole number, you know. The swing era, the boogie woogie era, the bebop era. Thelonious Monk is still one of my favorites. So a lot of these people had their effect on me.

My dad was a self-taught stride piano player. The myth is - I don't whether it's true or not - that he taught himself to play by watching a player piano.

My main influences have always been the classic jazz players who sang, like Louis Armstrong and Nat King Cole and Jack Teagarden.

The idea was I'd never amount to anything in music, The theme there was that I was talented, but I wouldn't work hard enough to do anything with it.

[The producer told me:] "We can try one more record, and we'll see how that one does." Those records never did anything. My music never got mentioned. My color got mentioned.

There's a few tunes of mine that don't have jokes, but most of them have a joke and they have a humorous point of view somewhere.

The things that really matter don't mix with idle chatter.