Ahmad Jamal Quotes

Years ago, when I was growing up and bands like Basie and Ellington came to the Stanley Theatre in Pittsburgh, where I was born, they were called entertainers. You can hardly use that word today, when men like Max Roach and Jackie McLean have tenure as professors at major American colleges.

[On querying the permanent use of the word "jazz"] So was the word Negro ! Yet you hardly hear it anymore—it's now Afro-American or black. All sorts of linguistic changes are going on: Instead of chairman we now say chairperson in order to upgrade the position of women in our society. Jazz is an important-enough area of our culture to demand constant refinement.

If you're applying for credit and write that you’re an insurance salesman, or a member of the Chicago Symphony, you won't have trouble. But just write "jazz musician" and you can't even buy a sofa on credit.

A guy that knows all these electronic things may be great [...] but a guy who knows acoustic and electronic is better. Just like a guy who knows Mozart only may be great, but a guy who knows Mozart and Duke Ellington is better. And a guy who knows Mozart and Brahms and Ellington is even better . . . It's musical depth perception.

Miles, Thad Jones, Clark Terry, Gil Evans, myself—the reason we always stay young is because we've been part of three eras. We heard Lunceford, Hines, Basie at their peak--I was a sponge, I absorbed that era. Then it was the Gillespie-Parker era—we were still young, and again we sponged it up. Now we are living in the electronic age . . . and we're still listening.

It was 25 cents here, $6 there. At $6, one gets to thinking it's a lot of money. So then economics started dictating the direction of my career, and that's when I started devoting more time to jazz. When I got up to $60 a week, which was as much as my father was making, I said, well, this is it. And I was doing that before I left high school.

[In response to a comment ("I sometime-get the feeling that Jamal would rather crawl into the piano than off the bench at the conclusion of a performance, so deeply involved is he in his music") by critic Philip Elwood] Maybe so. But I regret that I still don't have enough time to spend with my instrument. I think I could become more at one with it if I did.

When my people were brought over here from Asia and Africa, they were given various names, such as Jones and Smith. I haven't adopted a name. It's a part of my ancestral background and heritage: I have re-established my original name. I have gone back to my own vine and fig tree.