Zitat des Tages von Kurt Elling:
It's a lovely thing to have people in any circumstance appreciate your work.
I want to be the jazz singer.
There's a wide spectrum of possibilities in how to deliver a song.
I'm thrilled when I hear the greatest jazz musicians. They continue to search in ways other musicians do not.
I'd been studying philosophy at the University of Chicago. I hadn't been doing well, because I was sitting in with jazz musicians at night - it's hard to read Heidegger, but it's especially hard if you're half asleep.
I try to sleep as much as I can. I drink a lot of water. I practice consistently and just try to be ready for the gig.
You can start from any source material, and you can approach it with a jazz ear, and then it will become a jazz moment.
I was very lucky that more experienced musicians allowed me to caterwaul until I figured out what it was really about.
The singer is always an ambassador of music.
If you start to dwell on your pain, the amount of pain will increase.
I try to stick with things that I can sing with honesty.
My intellect was quickened at divinity school, and my abilities to discern were strengthened, and that's always valuable.
Sometimes, with vocalese, I'm dealing with something, a great solo from the past, which is so iconic I can't presume to change it or mess with it.
I hope to be at the top of my game when I'm 65 or 70. I don't want to reach my peak at 29. Not that I'm holding back anything, but there's a bunch of junk I don't know.
Chicago is my home. And the way Chicago sounds will always be a part of who I am.
I travel all the time. And as I go around the world, I try to learn a little something and not just take up all the available air.
I'm one of the culprits who keeps turning stuff around, shaking up original tunes and trying to stand the canon on its ear. But sometimes, you just need to sing the song.
Salacious? I suppose every once in a while the salacious thing is not a bad thing. It's kind of monochromatic if that's all you do.
I'm a guy who has more slapstick than Joe Cool moments in his day, so I'm not taking myself so seriously.
Romance is one of the things that most countries share, and I've noticed how different communities have their own ways of singing about love and heartbreak.
People just want to dig; they want to dance. They don't want to work all through the night, and neither do I. I like getting 'out there,' but communication should be occurring on more levels than heavy-laden philosophical.
I don't want to take it easy.
You want to be doing your best work whatever field of the arts you're in because your life's going to be over all too soon, and you have to make the most of it.
I remember seeing Tony Bennett on television. He was the only guy in the orchestra who was wearing a white tux, and I thought, 'That would be good. To be the only man on stage in a white jacket.'
When improvisation is properly applied, it is compositional thinking, sped way up.
Every record is a gate of a certain kind for me.
I haven't been afraid of John Coltrane or Miles Davis or Bill Evans or Wayne Shorter or Herbie Hancock. Why would I be afraid of the Beatles?
I've got enough miles under my belt to know that whatever you envision in your mind, even if it comes true, will only keep a shape in the most general way.
You don't want to make records so you can win a Grammy. You make records because you want to be a musician.
There's a spiritual complement to any attempt at transposing a commitment to humanity through music or art.
The idea is to be unrestrained by categories.
I don't really have a more intellectualized approach. After the fact, I can sure talk about stuff a lot - but when I make decisions, I really just follow what sounds good to me.
With a smaller setting, you have a lot more freedom and flexibility within a given moment, but not necessarily the velocity you have with a big band.
You work very hard on the lyrics. Getting them to fit the contours of improvised melodies.
People want to have access to jazz because it has a vibe that's very strong.
I couldn't do what I do without the encouragement and influence of the musicians I played with in Chicago.