Play Quotes - Page 270

Doing classic plays is wonderful. It's a wonderful way of developing style.

Wit must be without effort. Wit is play, not work; a nimbleness of the fancy, not a laborious effort of the will; a license, a holiday, a carnival of thought and feeling, not a trifling with speech, a constraint upon language, a duress upon words.

For my money, Ray Brown is the greatest living bass player. Every great thing that's happened on bass since Ray Brown -- all of us point back to him. That's where it started, you know. Ray Brown is definitely a walking master, and to get to play with him is obviously an opportunity that no one should ever pass up.

I don't personally look to my own life experiences for answers about how to play a scene.

You don't know who you messing with man, I slap people for fun. That's what I do man! You wanna play rough, huh, I kill for fun!

You have a couple of buddies sleep over, and, you know, you play cops and robbers. That I'm getting paid to do it now is kind of funny.

World Class players can lay down the toughest hands and play any two cards at any time without fear. Their reads are impeccable.

I'm not just gonna go after the black Jesse Jackson they all want to make fun of, but I know the wrong people are gonna laugh at that. I don't want to play to that crowd. I don't.

AB de Villiers reminds me of my young days, What a Player!

You're always striving to play that perfect match.

My roots and Victor's are jazz, basically, but these two young fellows that we have with us come out of rock bands. And they're tremendously exciting players.

Lenny Breau is one of the true geniuses of the guitar. I suppose he is a musician's musician. His knowledge of the instrument and the music is so vast, and I think that's what knocks people out about him. But he's such a tasty player too. I think if Chopin had played guitar, he would have sounded like Lenny Breau.

I wish I could be invisible and just play music and not have to worry about anyone looking at me.

Before, shortstops and second basemen were mostly defensive guys that made all the plays and didn't really hit that well. But now it's beginning to change a little bit. Now, shortstops and second basemen are very productive in terms of run producing.

I like to play roles different from myself so I can hide behind them.

You need better technique than I have to play jazz, but what you have to do is the same thing, isn't it?

We always work at least a month to six weeks before we go on the road, usually for something like eight to 12 hours a night. It took six weeks to do it this time. We just play virtually everything we know.

I love the music, but being on the road ain't a piece of cake, but it is real rewarding. You've got to - all those people can't come to my house, so I've got to go out on the road and play for them.

Some players, they have all their licks memorized. They think about what they're going to play, but I try to think about what not to play. Tone and phrasing, that's what's important - less is more. The feeling, that's the thing.

So it's really hard for a horn player to comp. But I'm totally into trying to switch those paradigms around and find a little magic space where that works, and try to mine that.

We would play, then they would play a set, then we would jam on the last song.

When I look at the way I was able to play in my 17th year, I feel like I earned the right to play in the NFL for another one.

Just because I'm playing jazz I don't forget about me. I play or write me, the way I feel, through jazz, or whatever.

I met the pianist Barry Harris when I was about fifteen. He would show me changes, which I had no idea existed. I knew about scales, but I didn't think about chords. I was fortunate in that he lived right around the corner so I'd be at his house almost every day and he showed me about playing melodies over chords. After about three years, I could play some gigs. I worked with drummer Roy Brooks and other guys my age at that time, like trumpeter Lonnie Hillyer. Some of the older guys were Paul Chambers, Doug Watkins and Louis Hayes

There is nothing--no, nothing--innocent or good, that dies and is forgotten; let us hold to that faith or none. An infant, a prattling child, dying in the cradle, will live again in the better thoughts of those that loved it, and play its part through them in the redeeming actions of the world, though its body be burnt to ashes or drowned in the deep sea.