It keeps me in touch with younger musicians who are constantly saying, 'Have you heard this new artist, or this new guitar player?' It keeps you reaching.

I've made more than 50 records with a wide range of music. I've often veered to check something out.

It hasn't been hard getting nominated, but winning it is another thing. The competition is tough.

It keeps me in touch with younger musicians who are constantly saying, 'Have you heard this new artist, or this new guitar player?' It keeps you reaching.

I felt like I was a teacher. But nowadays, I am as much a student of his. He writes a lot of what we play.

Certainly one of the more common experiences in the jazz field is discovering someone new. Improvising musicians are capable of being musical travelers, voyagers. We want to join in on whatever we hear. There is a freedom to wander the musical landscape.

But if you listen to great piano players, both classical and jazz, there's a huge range of dynamics and colors and emotional expression that's possible with the instrument.

I grew up in a farm town in Indiana. In the early years I played by myself, because there were no other musicians around.

I know of musicians who have played together for decades who hate each other. The Modern Jazz Quartet for one.

I think I always have been someone who likes to push at the edges of things, looking for something different.

I was a big fan of Jim Hall as well. I liked his comping style, his accompanying. And that he played, generally, four note chords, the top four strings of the guitar.

I was surprised when I finally moved to Boston and the East Coast, to discover that there weren't that many vibraphone players around. And I was the only one playing with four mallets.

I've discovered all kinds of music and done all kinds of music over the past 40 years, from playing tango with Piazzolla to all the different bands I've had.

Most people learn to improvise on their own, listening to records, endless hours of noodling on their instrument in the bedroom with all their spare time. That's traditionally how people learn.

There are a few things that I will hopefully be credited for as a pioneer. One is my four-mallet playing. Another one is the starting what was first called jazz rock in 1967 when I started my first band, later became jazz fusion by the 1970s.

Being a cover artist is not like being a real artist. That's just copying what someone else did.

The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks.

What an artist learns matters little. What he himself discovers has a real worth for him, and gives him the necessary incitement to work.

Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.

I'm inspired by nature. Other artist's work is important for developing my perception.

There is only one position for an artist anywhere; and that is upright.

The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

What do you say when someone has truly inspired you? How do you express to an artist how deeply their work has affected you?

An original artist is unable to copy. So he has only to copy in order to be original.

When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.

You have to find what makes you stable in the storm. Then, no matter what's happening round you, no matter what the hype or the publicity, you can still manage to make leaps in your work as an artist.

The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another... and leaves us with the feeling that something is right in the world.

I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade.

Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding.

The most colorful section of a bookstore is the display of SF books, with art by people like Wayne Barlow, who is a terrific artist.

Arguably, no artist grows up: If he sheds the perceptions of childhood, he ceases being an artist.

Let not a man do what his sense of right bids him not to do, nor desire what it forbids him to desire. This is sufficient. The skillful artist will not alter his measures for the sake of a stupid workman.

I so much appreciate it when anybody tries to make something and tries to be an artist - I'm happy to see the work.

The artist is seen like a producer of commodities, like a factory that turns our refrigerators.

I've also been willing to share any help that I could give to any other artist.

An artist, under pain of oblivion, must have confidence in himself, and listen only to his real master: Nature.

What is it they want from the man that they didn't get from the work? What do they expect? What is there left when he's done with his work, what's any artist but the dregs of his work, the human shambles that follows it around?

No artist work is so high, so noble, so grand, so enduring, so important for all time, as the making of character is a child.

I left Jamaica for a while, because as an artist I need to experience different things, see the world, have different energies. Living in one place is not good for me.

A young and vital child knows no limit to his own will, and it is the only reality to him. It is not that he wants at the outset to fight other wills, but that they simply do not exist for him. Like the artist, he goes forth to the work of creation, gloriously alone.

Though the artist must remain master of his craft, the surface, at times raised to the highest pitch of loveliness, should transmit to the beholder the sensation which possessed the artist.

My parents always saw me as an artist, and that greatly influenced me.

I'm the artist formally known as Beck. I have a genius wig. When I put that wig on, then the true genius emerges. I don't have enough hair to be a genius. I think you have to have hair going everywhere.

All works of art are commissioned in the sense that no artist can create one by a simple act of will but must wait until what he believes to be a good idea for a work comes to him.

A visual image in the hand of an artist is merely a tool to trigger a mental image.

Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts.

It is the artist who realizes that there is a supreme force above him and works gladly away as a small apprentice under God's heaven.

Coming to understand a painting or a symphony in an unfamiliar style, to recognize the work of an artist or school, to see or hear in new ways, is as cognitive an achievement as learning to read or write or add.