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.

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.

I've been waiting for that bright sunshine to show up and shine in my back door someday.

In the blues, it just takes so long for us to get recognized.

I don't want to be in some big beautiful place that nobody want me, because I play the blues.

But let's face it, I still have to look at my self and look at the things I've done down the stretch.

In the States, it takes you a lifetime just to get from Chicago's South Side to the West Side.

So I cut out all the drinkin' and hangin' out and stuff like that early on.

Before I left, I opened a lot of doors for a lot of people to play the blues.

And I can do the rock clubs if I have to.

But you know, I still had a dream of being able to go back home and tour.

I think I'm the most positive guy still going in my generation, and I'm out there to prove that.

But I did that, and I created another blues scene, another something I can sing about.

But there was not a job that could say that Luther Allison didn't do his job.

I mean, look how many musicians have come through and played beside me, and I'm workin' and they're not.

I focused on how these people became how they were.

We played the same thing in Europe we played in the States.

I have as much input to the blues; I just never got the chance, the opportunity or maybe the respect.

I look in music magazines now and see things on Luther Allison, and my name's getting out there more, thanks to all the good people at Alligator Records and at my management company.

When I got to Chicago I had to find my way.

I want people to recognize Luther Allison when I play.

But my big thing was always the blues.

Well, I've had to deal with everything in my life... leavin' the family, learnin' what not and what to do.

I want to play in a place people want to hear me.

What I want to do, is play music for somebody who believe in me.

Me being a skinny guy, I could crawl into the steel pit.

Well, I first started going to Europe in the late '70s.

Buddy Guy finally got a break and made it. And Buddy Guy deserves it.

But I never had that commercial opportunity to be played on the radio, so how could I be popular?

I had the qualifications, but I was not chosen.

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

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.