Clifford Brown was in the jazz circles considered to be probably the greatest trumpet player who ever lived.

I confess that I listen to my own music for my own pleasure.

Mexican Shuffle was a turning point of the Brass.

The trumpet was not a lyrical singing instrument.

When I finish an album and I find myself listening to it in the car, because it makes me feel a certain way, that's the time to try to let other people know about it.

I'm an old-timer in the business from the sense that when you do something that you feel good about there might be another person out there who feels the same way, or a hundred or a couple million.

I like to listen to classical music... I like mainline jazz.

He has a method that likens the musician to an athlete, so I do physical exercises designed to keep a musician in shape in order to perform the function, which is to play music.

I like to listed to the adventurous guys - the Coltranes, Miles Davis, the guys who just let it loose.

You know, the record business is much different than being artist on stage.

I was taken in by the bravado and the sounds of Mexico... not so much the music, but the spirit.

It's - as opposed to tape where you have a magnetic tape that's excited by frequencies that you hit, digital was a process where musical sounds are transferred to numbers and stored as numbers.

I practice every day. I've been doing it since I was eight.

I find that it's nice to work with somebody and spin off on someone else's feelings. You get a little jaded by yourself.

I'm sure I'll go back again and record in the digital process.

Although there was a point with the Tijuana Brass where we were playing for such huge crowds that I kind of lost contact. At one point, the only connection I had with the audience was with people out there lighting cigarettes.

It's very clean. With tape, you get noise.

The reaction to this album has just been fabulous around the world... and I've had offers to perform from around the world and I'm tempted to do it. I've got itchy lips.

If you look at a record under a microscope, the high frequencies are short jagged edges... and the low frequencies are long swinging ones are deep bass sounds. When it cut it at half speed, you're getting more of those on the record.

The Japanese seem to be a loyal audience.

There's something interesting about playing live; you're in the moment, and I think it would be beneficial.

We finally got our big break when Ed Sullivan put us on his show.

We always felt that if you do something with quality and integrity, then it's going to come back to you.

Clifford Brown was in the jazz circles considered to be probably the greatest trumpet player who ever lived.

Instrumental music can spread the international language.

Selfishly, I make music for me. I like to make music. I like looking for songs. I like working with interesting musicians. I like producing records. It's something I will always do.

I don't think radio is selling records like they used to. They'd hawk the song and hawk the artist and you'd get so excited, you'd stop your car and go into the nearest record store.

This was during a period when I was producing Brazil '66 records and got infected by Brazilian music.

I wake up in the morning, I do a little stretching exercises, pick up the horn and play.

The blues is the foundation, and it's got to carry the top. The other part of the scene, the rock 'n' roll and the jazz, are the walls of the blues.

What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man.

In my view a jazz musician is a great musician.

Words are the children of reason and, therefore, can't explain it. They really can't translate feeling because they're not part of it. That's why it bugs me when people try to analyze jazz as an intellectual theorem. It's not. It's feeling.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

Humans are imperfect. That's one of the reasons that classical and jazz are in trouble. We're on the quest for the perfect performance and every note has to be right. Man, every note is not right in life.

I hate Stanley Clark, but I have to admit he's playing Jazz whether I like it or not.

I have to plead basic ignorance of most new jazz artists here.

If one takes all the styles in jazz harmonically from the earliest beginnings to the latest experiments, he still has a rather limited scope when compared to the rest of music in the world.

I don't know who's 18 years old today that, 20 years hence, is going to be a jazz fan.

I don't like freedom jazz - I think it's void of roots and void of foundation.

Jazz needs the help. It's the more sophisticated music. All the other music is on the TV, but jazz isn't.

I listened to Billie Holiday a lot in order to learn to sing. She remains one of the extraordinary jazz singers. But my intent is to become my own voice, to be able to interpret these songs in my own way.

I think what we need is a more welcoming mode from the people who put on a hundred million country-western shows on television. How about a monthly jazz show?

Life is a lot like jazz... it's best when you improvise.

I still love the whole history of jazz. The old things sound better than ever.

A jazz musician is a juggler who uses harmonies instead of oranges.

Jazz is a music of great achievements but speed and chops serve a different function in jazz.

I don't want to appear hostile, like I'm hostile to L.A. or that I feel that the people don't appreciate jazz. I don't think it's that. I think it's something more. It's something a little bit more complicated than that.