I'm talking as a professional impresario. I'm not judging anybody at all.
My juices needed restoring. I needed a sabbatical from the record business.
I don't say that the supposed Civil Rights development is a myth, but it's a matter of dealing with reality. It's purely peripheral and, in many cases, it's just a facade.
To play today in London, next week in Madrid and the week after that in Warsaw is a bit better than playing Newark and Baltimore and Philadelphia. I've been doing that for 20 years.
If you look at my audiences, even in Europe, they're hardly teenagers.
Sponsors and networks will really go all out and simply evaluate people on the basis of talent.
The public, hearing pop music, is, without knowing it, also soaking up jazz.
Ella can work nightclubs that Duke might not be able to work, because of having the big band. Where they go now is strictly a matter of their own names and talents.
I'm concerned with trend. I don't know where jazz fans will come from 20 years from now.
Ellington is a writer and arranger, as well as a musician and leader. He does movie sound tracks.
Amsterdam must have more than a million people. But the only area where jazz is really profitable and successful in an economic sense is in Japan. That's because they haven't been exposed enough.
As long as we're in a democracy, I have to give what I think the majority of people will enjoy.
For years, Jazz At The Philharmonic albums were the only ones of their kind.
I allowed artists to play for as long as they felt they could justifiably continue to create.
I don't know who's 18 years old today that, 20 years hence, is going to be a jazz fan.
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