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.

So I am one of those bass players who can do something and musically, it was back then and now it is even more, if you noticed on the new album, I am not playing all the time anymore.

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.

I had a vision how it should sound and I put all my knowledge into this product and it is a fantastic product. People still tell me that I have the best musical thing there.

I did extensive, extensive recordings and made a classical CD-ROM set, which is still on the market. For ten years, it was by itself as the cream of the crop of samples.

But I have returned to one hundred percent playing this year. I am fully back to playing full time.

I am touring in Europe. I am putting together a trio and a quartet. I am playing solo concerts with my symphonic sounds. I am very much engaged back to playing and recording and everything.

I thought it was time to get a group together and the first person I thought of was Wayne Shorter. I called Wayne and in the meantime, Wayne called me to make an album with him, which was Super Nova.

I actually met Chick Corea in New York, where I was staying with a bass player friend.

Miles Davis had me play and he hired me the following week and after that, everything broke wide open.

I am more of a solo bass player and he needed somebody who would keep the role.

I am a Slavic musician and it is deeply inside of me.

I continued studying by myself in the field of jazz with my own technique of improvisation, walking bass lines, rhythms, all kinds of stuff, which I created for myself.

I basically started playing violin at the age of six. That lasted about three years because my previous teacher died and the second teacher didn't really know how to successfully get me going.

I was pretty much prepared because I was already playing in extremely good ways when I arrived from Europe because I played jazz four or five years before I arrived here.

The main thing that those two albums have in common aside from my music, which of course, a sense of it, you can recognize, it is that the bass on Infinite Search was playing much, much less like a bass.

I took it very seriously and got very far with it. I was pretty much on a high level when I arrived.

There was the best teachers from the Czech Philharmonic, highly dedicated people, some of the best musicians in the world passing on the knowledge about the country, about the principles, and about the music.

So the whole basis for jazz music is based on the fact that the bass player could not play his instrument.

They taught us because they wanted to pass the knowledge on and educate young musicians. It was not because they had to teach because they failed as musicians. There is a huge difference in the reasons why someone is teaching and what they can offer and what they cannot offer.

There is no roles. No one is keeping any roles. The drummer is also answering everybody and everything. So it is a constant conversation and communication between musicians on an extremely high level with extremely valuable material, motifs, and melodies.

The money in the schools overpowers the principles of the purpose.

I was very much fascinated with the technology we had that we could edit in the computer our compositions, but all the sounds that were available on the market were crap.

That was really so upsetting when you are trying to pass on some very serious knowledge and be basically, treated worse than a student coming off the street because his father pays the tuition. Come on. Give me a break. This is no school. This is a joke.

There is no roles. No one is keeping any roles. The drummer is also answering everybody and everything. So it is a constant conversation and communication between musicians on an extremely high level with extremely valuable material motifs and melodies.

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.

Eclecticism is the word. Like a jazz musician who creates his own style out of the styles around him, I play by ear.

People sometimes say it takes a long time to become a jazz fan, but for me it took about five seconds.

My brother had a big band in high school; after that we continued to play together, eventually forming a group called the Jazz Brothers, that recorded for Riverside Records.

Here in England we live at a slower pace, have more time to enjoy things - like good jazz.